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ISSN-2348-5892 Sangitika

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Contents

1 SANGITA MUKTHAVALI 4

2. The Evolution of Rāgānga as a

mode of classification of Hindustani rāgas 8

3. fp=iV laxhr esa cgqvk;keh laxhr funsZ'kd

enu eksgu dk ;ksxnku 33

4. ia- fou;pUnz ekSn~xY; dh cfUn'kksa ds izsj.kk lzksr %

ia- fouk;djko iVo/kZu 40

5. IMPRESSION OF RARE RAGAS IN INDIAN

FILM MUSIC 47

6. lwQh dfo cqYys”kkg th dh jpukvksa esa b”+d dk Lo:Ik 53

7. jktLFkku ds J`axkfjd yksdxhr 60

8. jktLFkkuh yksdxhrksa vkSj muds fofo/k izdkjksa dk vè;;u 63

9. Rare Composition : Ragam – Keeravani 72

10. ehjkckbZ ds inksa esa lkfgfR;d ,oa lkaxhfrd oSf'k"V~; 73


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SANGITA MUKTHAVALI is a very rare musical work in DEVANAGARI

script authored by DEVANACHARYA, who adorned the court of

PROUDHA DEVARAYA of the great VIJAYA NAGARA Empire in 15th

century CE. Much detail is not available about him and his patroniser, as he

was not an able administrator and reigned for a short period only since he

was the last ruler of SANGAMA dynasty of Vijayanagara Empire.

DEVANACHARYA has also authored another work called “SMRITHI

CHANDRIKA” which deals with philosophical matters. He introduces

himself as “THOWRYATRIKA CHINTAMANI” ie. a fine thinker in the

field of Dance and the student of Rudra Deva. Though the word SANGITA

SHASTRA signifies music and Dance in general, this work mainly discuss

about Dance, leaving the subject of music untouched.

The Sanskrit work SANGITA MUKTAVALI unearthed from the great

treasure of Saraswathi Mahal Library and this is a humble attempt to give a

commentary for the same in English.

After explaining about the 32 elements of Classical dances, the author

illustrates the appropriate characters person for the dance. In this illustration,

the author was explaining the major qualities of a dancer. He gives

importance for the female dancers. She will represent the main character of

a dance performance.

rk.Moa ykL;feR;srUurZua p f}/kk iqu%A

m)rSj³~Xk gk;sZLrq dj.kSLrk.Moa ere~AA

taandavam laasymityetannarttanam ca dwidha punah : | Uddatairangaharyastu karanaistaandavam matam”|| Here, during the period of Sangita Mukthavali, the performance of Dance has been devided in to two. They are lasya or a dance which is dramatically representing the emotions of love; and Tanadava or

dance with aggressive gesticulations. This tandava form of Dance should be performed with haughty gesticulations and postures. ohjjkSækn~Hkqrçk;ekjHkV~îk fç;a ere~ A

pkfjfHk% dksekykfHkJ~p dj.kSykZL;ehfjre~ AA

Vira roudradbhuta prayamarabhatya priyam matam | chāribhi:komālābhishch

karaṇairlāsyamīritam||

SANGITA MUKTHAVALI


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This tandava should be followed with the sentiments of Veera or Heroic, Roudra or furious and Adbhuta or Marvellous. And the Naatyavritti should be followed in Tandava Aarabhati, the represent-tation of supernatural and horrible events on the stage. pkfjfHk% dksekykfHkJ~p dj.kSykZL;ehfjre~ AA

dkseya urZua pSrUeUeFkksíhiua ije ~A

ohjjkSækn~Hkqrçk;ekjHkV~îk fç;a ere~ A

pkfjfHk% dksekykfHkJ~p dj.kSykZL;ehfjre~ AA

chaaribhih komalaabhisca karanailaasyameeritam | Lasanallasyamakhyatam paarvatya gaatraharshanam | Kaisiki vritti sampannam srngararasajivanam| Komalam nartanam caitanmanmathoddipanam|| Here the author wants to illustrate the features of lasya type of dance. This should be performed with the charming movements and gesticulations. The word lasya is derived from LASANA – moving hither and thither. And it is also very pleasing element for the body of Parvathy. This lasya is fulfilled with Kaisiki vritti and it is also the soul of erotic sentiment or Sringara. This charming dance Lasya is also considered as the element encouragement of the erotic feelings. r.Mwäa rk.Moa çksäeq)ra “ka³~djfç;e~ AA

tanduktam tandavam proktamuddhatam sankarapriyam ||

The Tandava form of Dance is conceived by TANDU, and the character of this dance should act like highly majestic and conceited which is favourite to lord Siva mÙkea e/;ea psfr dfu"Bk p _ekfnne~A

mÙkea p xq.kS% losZS% [;krSLrs p xq.kk erk%AA

Uttamam madhyamam ceti kanishta ca kramaditam | Uttamam ca gunaih: sarveh: khyatah: te cha guna matah|| This Tandavam form of dance is devided in to three form such as Uttama- inherited with all qualities, Madhyama – perfor-mance with mediocre qualities, and Kanishta – Performance with poor qualities. Among these, Uttama is fulfilled with all famous qualities explained by the experts of dance. n`';Roa dkseyRoa p leRoa y;rky;ks%A

xhr'kCnkuqlkjs.k iquL=s/kk rnhfjre~ AA

drsytwam komalatwamca samatwam layatalayoh: | gitasabdanusarena punastredha tadiritam” || Accompanying with the musical instruments such as melody, lyrics, and instruments, the Tandava form of dance is again devided in to three. They are Drsytwa or visual beauty, Komalatwa or nurtured with charm and the uniformity of music and partic element. xhrkuqxa rFkk pkSda o/;kuqxeFkk·ije~ A

xhro|kuqxa pkSrnUoFkaZ ifjdhfrZre~AA

SANGITA MUKTHAVALI


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gitanugam tatha coukam vadyanugamathaparam | Gitavadyanugam coutadanvartha parikirtitam|| Here the author explaining about three mode of Tandava. First is accompanying with music while the second one is accompanying the instrumental music and third one is accompanied with both vocal and instrumental music. The experts consider this third one as the perfect one. ,rnqRlkgtuua los J+~oo;Zdja ije~ A

çkxYH;tuua ásrnkSnk;ZL;Sddkj.ke~ AA

etadutsahajananam sarvaiswaryakaram param | Pragalbhyajananam hyetadaudaryasyaikakaranam || Here the author is explaining the good qualities of the Tandava form of Dance. This will create the energy in body and mind. This also will be the cause of all types of prosperity. And this will be the creator of eminency and this will be the only one cause of liberty. mRlos"kq eghikySnZz"VO;e~ loZnk·fi p A

vL; ç;ksxS''kEHkJ~p ikoZrh pkfi rq’;frAA

Asya prayogaissambhusca parvati ca pi tushyati” || Now the author expresses his opinion about this form of dance should be experienced by the kings on the occasions of all festivals. Lord Siva and Parvati will be

pleased by the performance of Tandava. losZ nsok% çlUuJ~p â"Vk nkL;fUr lain%A

loZdzrqQya pkL; n'kZua eqfulEere~AA

sarve devah: prasannasca hrusta dasyanti sampadah: | Sarva kratuphalam casya darsanam munisammatam || By the performance of tandava, all celestial beings will be very happy and they bless the performer with all types of prosperity. The after effect of Tandava is equal to all types of rituals, sacrifices and the experience of this performance is accepted and recommended by Bhrata Muni, the author of Natya Sastra.

u`Ùk³~xçR;³~xkfu

NRTTANGA PRATYANGANI

u`rLok³~xkfu "kV~ rkfu çR;³~xkU;Fk rkfu pA

v³~xknhU;Fk o{;Urs u`ÙkL;kL; leklr%AA

nruttasyangani shat tani pratyanganyatha tani ca | Angadinyatha vakshyante nrutysyasya samasatah: || There are six number of supporting factors or limbs and supplementary supporting factors or limbs for the dancing performances. Here the author is explaining the supporting factors or limbs of the dance performances in detail. f'kj%d.B© rq o{k'p ik'o¨Z p·fi dVh rFkk

ikno³~xfu "kV~ rkfu LdU/kkS pkfi ijs fonq%

sirah: kantho tu vakshasca parsau ca pi kati tatha |

SANGITA MUKTHAVALI


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Padavangani shat tani skandhau ca pi pare viduh:” || There are mainly six limbs which are used to perform by dancers. They are head, two sides of neck, chest, two sides of body, buttock, and feet. Some other scholars add two shoulders as the main limbs for the performance of dance. çR;³~xkfu rFkk xzhok okgqiq"Bksnjkf.k p A

Å: t³+x¢s p "kV~pSo ef.kcU/ks p tkuquh AA

prtyangani tatha griva bahuprushtodarani ca | Uru janghe ca shad caiva manibandhe ca januni” || Now the author is explaining the supplementary supporting limbs for the dance performance. They are whole part of neck, hands, especially the part between the elbow and the wrist, back portion of the buttock, abdomen parts, thighs and the shank(from ankle to knee). Some scholars also add wrist and knees as the supplementary supporting limbs for the performance of dance. Hkw"k.kkfu ijSL=hf.k çR;³~xkfu euhf"kfHk%A

–f"VHkzqiqVrkjk'p diksykS ukfldkfi p AA

bhushnani paraistrini pratyangani manishibhih: | Drushtibhru putatarasca kapolau nasikapi ca” || Some other experts of dance are accepting three more beautifying limbs in the dance. They are shining

look with waving eyebrows, cheeks and nose. “oklnUrk/kjkftºokfpcqda onua rFkk A

f'kjksxrkU;qik³~xkfu }kn'kSrkfu lwfjfHk %AA

swasadantadharajihua cibukam vadam tatha | Sirogatanyupangani dwadasaitani suribhih: || Here the author is naming the twelve supplementary sup-orting limbs of the dance performance. They are breath teeth, lower lip, tong, jaws and face. These six are the supporting limbs which ever related to the head. And the six other limbs which are explained before, they are neck, hand, buttock, updomen, thighs, and shank. These are the twelve supplementary supporting elements or limbs in the performance of dance. iknkS p ikf"kZ~.kxqYQkS p rya p³~xqy;LrFkk A

gLrkS rya rFkk³~xqY;% çR;³~xkU;Fk y{k.ke~AA

padau ca panigulphou ca talam canguayastatha | Hastau talam tathangulayah: pratyanganyatha lakshanam” || The author is again explaining some supplementary suppor-ting elements for the performance of dance. They are feet, hand, ankle, palm, fingers, two handswith levelled fingers. With this explanation, the author concludes the illustration of angas and pratyangas in the performance of dance.

SANGITA MUKTHAVALI


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The Evolution of Rāgānga as a mode of

classification of Hindustani rāgas Dr. Ananya Kumar Dey

Assistant Professor, Hindustani Vocal Music, Dept. of Music

University of Delhi, Delhi Keys to read the notes

Shuddha (basic) svaras (first letter in capital) - Sa, Re, Ga etc. Komal (flat) svaras (in small letters) - re, ga, dha & ni Tivra (sharp) madhyam (vertical line above) - m|a Mandra (lower) svaras (written in bold) - Ni,Dha, Pa etc. Tāra (higher) svaras (shown in italics) - Re, ga, m|a etc. Introduction: Rāgānga or ‘Rāgānga-paddhati’ (the system of Rāgānga) is a cornerstone of the concept of ‘Rāga’ in Hindustani classical music. It plays an extremely indispensable role in the existence of the Hindustani rāgas. While we know that rāgas arise out of parent scales called Thāta, it is equally true that rāgas also owe their very presence to the concept of rāgānga. The Thāta-Rāga system of rāga classification, along with the Rāgānga concept, can be considered as the two parents of every rāga. The Hindustani rāga can be said to be either arising out of a Thāta, or being a Rāgānga rāga by using the anga or limb of a main rāga. Alternately, rāgas can use both of the above systems in their grammar, as is mostly the case. But

1 Commonly known as ‘Dashavidha rāga vargikaran’

it never happens that a rāga is present without either of the two systems playing any role whatsoever in its existence.

The Rāgānga-paddhati is essentially a form of classification of the Hindustani rāgas. In the past, there have been several other modes of classification of rāgas, that have been done by ancient, medieval and modern scholars. These may be enumerated thus –

1. Grāma – Murchhanā – Jāti 2. Grāma rāga – Deshi rāga 3. Ten-fold rāga-classification of

Shārangadeva 1 4. Rāga-Rāgini 5. Mela-Rāga 6. Thāta-Rāga 7. Time Theory of Rāgas 2 8. Rāgānga

2 Commonly known in Hindi parlance as ‘Rāgon kā Samaya-

siddhānt’


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Of these, the first three came into existence during the ancient period, the fourth and the fifth during the medieval times, while the last three in the modern era of Hindustani classical music, though they had their origins in the ancient and medieval times. In this paper, we shall study in considerable depth, the entire concept of ‘Rāgānga’, right from its origin several centuries earlier, to its modern form. Derivation and definition: If we split the word ‘Rāgānga’, we see that it is a combination of two words – ‘rāga’ + ‘anga’. The most common and oft-quoted definition of Rāga is that of Matanga, who defines it in his Brihaddeshi, thus -

yo S sau dhvanivisheshastu svaravarna vibhushitaha |

ranjako janchittānām sa cha rāga udāhritaha ||

Trans: That which is a special dhwani,3 is bedecked with svara and varna and is colourful or delightful to the minds of the people, is said to be rāga. i

3 Lit. sound

The word ‘anga’ may be described as ‘limb’ or ‘part of a body’. Combining these two words, gives rise to the Hindustani classical musical term of ‘rāgānga’, which may be explained today as ‘a particular group or set of notes, that is derived from a major rāga’. This svara-samooh, or set of notes, is used in a select group of rāgas, which usually have the same or similar set of notes as the parent rāga, from which the anga derives its existence, though it is not a binding rule as such. The rāga, which uses the anga of the main rāga, is known as ‘rāgānga rāga’. Historical background of Rāgānga: The word ‘Rāgānga’ was first mentioned by the ancient scholar Matanga in his Sanskrit text ‘Brihaddeshi’. He says that Rāgānga is a type of Deshi rāga, viz. –

lakshyalakshanasanyuktan trividhan va S pi sanyutam | rāgānga chaiva bhashānga kriyānga cha tritiyakam ||

The Evolution of Rāgānga as a mode of classification of Hindustani rāgas


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Trans: (The group of deshi rāgas is that which) embodies the combination of practice (lakshya) and theory (lakshana) and is threefold, viz. rāgānga, bhāshānga and kriyānga as the third one.ii He then describes rāgāngas thus –

uktānān grāmarāgānān chhāyāmātran bhajanti hi | geetagyaiha kathitāha sarve

rāgāngāsten hetunā ||

Trans: All rāgāngas are so called by the experts in music because they bear only a reflection or shadow (chhāya) of the grāma rāgas that have been spoken of. iii In other words, it can be said that rāgāngas are rāgas produced from the angas, admixture or alteration of grāma rāgas. Shārangadeva deals with the subject of rāgānga in the second chapter ‘Rāgavivekādhyāya’ of his voluminous Sanskrit text ‘Sangeet Ratnākar’. In its second section, he says –

4 That is, Shārangadeva

atha rāgāngabhāshāngakriyāngopā

nganirnayam | keshānchinmatamāshritya kurute sodhalātmajaha ||

ranjanādrāgatā bhāshārāgāngāderapeeshyate |

desheerāgatayā proktan rāgāngādichatushtayam ||

Trans: “Now, the son of Sodhala 4 attempts to establish the identity of the rāgāngas, the bhāshāngas, the kriyāngas and the upāngas on the basis of some of the extant views. Delightfulness is the essence of rāga, and that obtains also among the bhāshās and the rāgāngas, but these four viz rāgāngas etc. are described by way of deshirāgas.” iv Dr. S. Seetha explains the four concepts in the context of these two ancient authors’ writings, thus – “Though mārga rāgas had long become out of vogue, the study of desi rāgas as expounded in Sangeet Ratnākar, reveals that each of these four categories of desi rāgas, is related to the earlier system of mārga rāgas… Matanga explains the development of the three class



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of rāgas – rāgānga, bhāshānga and kriyānga, and he has left (out) upānga category, and the reason for the omission, according to Kallinātha, is that these are already implied in the rāgānga rāgas themselves.” She continues – “When the chhāyā or flavour of (a) grāma rāga forms an essential anga or limb, it is a case of rāgānga rāga. The presence of the chhāyā of the bhāshā rāgas as an ingredient, has given rise to the bhāshānga rāgas. Those that are capable of creating the feelings of karuna, shoka, utsāha and so on, are termed kriyānga rāgas. The upāngas are closely allied to the rāgānga, and in a sense, are included in the concept, since they have the affinity of anga chhāyā between them.” v

Shārangadeva mentions the names of rāgāngas under two categories of rāgas –

1. Well-known ancient rāgas –

Shankarābharana, Ghantārava, Hamsaka etc., total eight rāgāngas in number

2. Well-known current rāgas –

Todi, Bhairava, Varāti,

Gurjari, Gauda, etc., total thirteen rāgāngas in number

He then shows a few upāngas to be arising from rāgāngas, thus - Rāgānga

Upānga

1. Todi Chhāya Todi, Turushka Todi 2. Varāti Kauntali,

Drāvidi, Saindhavi, Upasthānavarātikā Pratāpavarātika

3. Gurjari Mahārāshtri, Saurāshtra, Dakshina, Drāvidi

Shārangadeva is said to have written his Sangeet Ratnākar sometime in the time-period of 1210-47 A.D., i.e. in the 13th century A.D. In the same century was present, one of the greatest poets and musicians of India – Hazrat Amir Khusrau (1253-1325 A.D.), who served in the royal court of Sultan Allauddin Khilji. He introduced Persian music concepts into Indian rāgas to produce new rāgas. This could not have been possible without the knowledge of the ‘anga’ concept. Brought in by the Mohammedans from outside India, this admixture of music of the Islamic nations, namely Persia, with the



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traditional Indian rāga music, while presumably incorporating anga-system, gave rise to new rāgas. This can be seen from the mention of Mallār, Todi, Gaud, Kānhadā, Bilāwal etc. rāgas in Sangeet Ratnākar, which gave rise to new rāgas arising out of these at a later date during the medieval period. It is possible that the fusion of the music of two diverse cultures could have started the Rāga-Bheda paddhati. By the time the medieval period started around the 14th century A.D., the ancient melodic form of ‘Jāti’ had gone out of vogue, replaced by the ‘Rāga’, a concept which has stood the test of time over more than 700 years. In the 15th century A.D., we find two clear evidences of the concept of rāgānga being present in some form or the other in Hindustani music. Explaining them, Prof. Krishna Bisht says – “Husain Shāh Sharki, who ruled over Jaunpur (1452-78), was aware of Rāgāngas. Sharki’s twelve varieties of Shyām have been noted in the

5 Also known as Raja Mān Singh Tomar, reigned over the kingdom of Gwalior from 1486-1516 A.D.

second chapter of Faqirullah’s ‘Rāga Darpan’, a Persian work on Indian music written during the reign of Aurangzeb. The varieties of Shyām as found in ‘Rāg Darpan’ are: Gaur Shyām, Shyām Mallār, Bhupāl Shyām, Kinnar Shyām, Sohang Shyām, Purvi Shyām Sampurna, Shyām Rāga, Megha Shyām, Vasant Shyām Sampurna, Shyām Godai and Gaud Shyām. If we include Shuddha Shyām, it will make twelve. In the same chapter under (the heading) ‘Rāgas according to Mān Kutuhal’, some Rāga Bhedas are found. Five varieties of Kānhadā and nine varieties of Nāta are enumerated. Now, the author of ‘Mān Kutuhal’ was Raja Mān Singh Tanwar,5 almost a contemporary of Sharki. This means that the Bheda Paddhati was quite prevalent in the fifteenth century. In the sixteenth century, Bāz Bahādur of Mālwā, and the legendary Tansen too, evolved rāgas following the same system.” vi



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The name of Tānsen here is very important, as during this period, the admixture of limbs of various well-known and established rāgas led to the creation of new rāgas, which we call today as ‘Mishra rāgas’. He is credited with the creation of Miyān ki Malhār, wherein he is said to have introduced the Kānhadā angas – ‘Pa ni Pa’ and ‘ga Ma Re Sa’ – in rāga Shuddha Malhār having the āroha-avaroha - Sa Re Ma Pa Dha Sa / Sa Dha Pa Ma Re Sa. It is clear therefore, that in the many varieties of new rāgas that were being created, the role of ‘rāgānga’ as an ingredient, was very important.

Moving further ahead to the 17th century A.D., we find significant work having been done on ‘Rāga-Bheda’ by a Sanskrit scholar - Bhāvbhatt. In Anupa Sangeet Ratnākar, he mentions 16 varieties of Nāta Bheda, 14 varieties of Karnāt 6 Bheda, 13 varieties of Kalyān Bheda, 9 varieties of Todi Bheda, 4 varieties of Sārang Bheda, and so on. It may be inferred that the Rāga Bheda paddhati was the precursor to the modern day Rāgānga paddhati, as the principles

6 Present day Kānhadā

governing them are basically the same. The views of Pt. Vishnu Nārāyan Bhātkhande: We now come down to the 19th-20th century A.D. scholar - Pt. Vishnu Nārāyan Bhātkhande’s views on ‘Rāgānga’. He seems to not have dealt with the subject extensively, yet he has mentioned it somewhat, both directly and indirectly. He defines ‘anga’ thus –

“‘Anga’ that is such a part, which is seen more clearly in rāgas. To leave out a scheduled svara in the āroha of any rāga, to keep the āroha or the avaroha of any (rāga) in a particular manner, to keep the tonal composition of any rāga in a specific way etc.” vii He then says that the all the rāgas of the Kāfi thāta can be classified into 5 angas. They are – Kāfi anga, Dhanāshri anga, Kānhadā anga, Sārang anga and Malhār anga. He then categorizes them thus – Anga Constituent rāgas

1. Kāfi

1. Kāfi,



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2. Saindhavi (Sindura), 3. Pilu

2. Dhanāshri 1. Dhanāshri, 2. Dhāni, 3. Bhimpalāsi, 4. Hansakinkini, 5. Patdeepaki (Pradeepaki)

3. Kānhadā 1. Bahār, 2. Bāgeshri, 3. Suha, 4. Sugharai, 5. Nāyaki, 6. Sahānā, 7. Devsāg, 8. Kaushik

4. Sārang 1.Shuddha Sārang, 2. Madhamād, 3.Vrindāvani Sārang, 4.Badhansa Sārang, 5.Sāmant Sārang 6. Miyān ki Sārang, 7.Lankadahan, 8. Patmanjari

5. Malhār 1. Shuddha Malhār

2. Gaud Malhār

3. Miyān ki Malhār,

4. Soor Malhār,

5. Megh Malhār,

6. Rāmdāsi Malhār,

7. Charju ki Malhār,

8. Chanchalsas Malhār,

9. Meera ki Malhār

In the indirect sense, while formulating the ‘Thāta-Rāga’ paddhati, he has categorized the rāgas under the ten thātas, keeping in mind the Rāgānga system in mind. Nothing else explains the fact more than in the duo of Bhupāli-Deshkār, which has exactly the same notes, viz. Sa Re Ga Pa and Dha. But while he keeps Bhupāli under the Kalyān thāta, he keeps Deshkār under the Bilāwal thāta. This is because Bhupāli uses the Kalyān anga – ‘Pa Re’, which Deshkār does not use. Conversely, Deshkār uses the Bilāwal anga – ‘Dha Ga’ which Bhupāli does not use. In another case, Yamani Bilāwal, the rāga uses teevra madhyam of Yaman (hence the name), but because Bilāwal as an anga is stronger in the rāga, it is kept under the Bilāwal thāta, and therefore, sung in the morning. The views of Pt. Nārāyan Moreshwar Khare on ‘Rāgānga’:



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Pt. Nārāyan Moreshwar Khare was one of the foremost disciples of the legendary Hindustani musician and teacher – Pt. Vishnu Digambar Paluskar, and one of the leading lights of the Gwalior gharana. He tried to give shape to the ‘Rāgānga’ paddhati by designating a main rāga as one that has more than one limb or anga, while that rāga which employs the anga(s) of the main rāga, is its ‘Rāgānga rāga’. Pt. Khare expounded his theory in Part-VI of Rāga Vigyān viii, written by Pt. Vināyak Rāo Patwardhan of the same gharana. In it, he speaks at length about the features and advantages of the ‘Rāgānga-paddhati’, after speaking of the drawbacks and limitations of the ‘Thāta-rāga paddhati’ that was the basis for the creation and existence of all rāgas at that time. The following is the translation from Hindi, of the main and important excerpts from his published article – “…Hence, I have come to the conclusion that a “Rāgānga-paddhati” be given shape, which may incorporate all existing and new rāgas with ease. A brief description of this

system is being explained below. The main pillar of any rāga is based on a type of ‘tonal formation’. If we study these tonal formations, then we come to know of the following. Many tonal phrases are independent, from which gives rise to a particular kind of bhāv (emotion) or rasa (aesthetic nectar). In such phrases, the rules of āroha-avaroha, the inter-dependence of vādi-samvādi, their extension, sparse and multiplicity of use are followed properly. In such tonal creations, the notes of the poorvānga are in consonance with those of the uttarānga. Rāgas having such tonal phrases must themselves be known as Rāga. And the rāgas, in which the shadows of these independent rāgas exist, should be known as ‘Rāgānga’. An attempt to classify these independent rāgas and their rāgāngas arising out of these (main rāgas), based on their appropriate phrases, is being done below. The independent rāgas already have their original names; the constituent rāgas arising out of these will be called Rāgānga. I am naming the classification of all



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these rāgas as ‘Rāgānga-paddhati’...” He then mentions the 26 main Rāgas and their Rāgāngas, thus - 1. Bhairav -

1. Bhairav, 2. Kālingadā, 3. Jogiyā, 4. Gunkri, 5. Gauri, 6. Shivmat, 7. Rāmkali, 8. Aheer, 9. Prabhāt, 10. Mangal, 11. Bairāgi, 12. Shobhāvari

2. Bilāwal-

1. Bilāwal, 2. Alhaiyā, 3. Sarpardā, 4. Kukubh, 5.Lachchāsākh, 6. Shukla, 7. Yamani, 8. Devgiri, 9. Jaij, 10. Sukhiya

3. Kalyān - 1.Kalyān 2.Shuddha Kalyān or Bhoop Kalyān, 3. Yaman, 4. Chandrakānt

5. Teevrakalyān, 6. Pahādi, 7. Hemkalyān, 8. Jayatkalyān

4. Khamāj - 1. Khamāj, 2. Jhinjhoti, 3. Tilang, 4. Mānd, 5. Khambāvati

5. Kāfi - 1. Kāfi, 2. Sindhora, 3. Ᾱnand Bhairavi

6. Purvi - 1.Purvi, 2. Pooriyadhanāshri, 3. Paraj

7. Mārvā - 1. Mārva, 2. Bhatiyār, 3. Bhankhār, 4. Pooriyā

8. Todi - 1. Todi, 2. Gurjari Todi, 3. Chhāyātodi, 4. Multāni

9. Bhairavi - 1. Bhairavi, 2. Mālkans, 3. Bhoopāl, 4. Sindhabhairavi



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10. Ᾱsāwari -

1. Ᾱsāwari, 2. Jaunpuri, 3. Gāndhāri, 4. Devagāndhār, 5. Komal Ᾱsāwari, 6. Deshi

11. Sārang - 1. Bindrāvani Sārang, 2. Megh, 3. Shuddha Sārang, 4. Madhamād Sārang

12. Dhanāshri - 1. Dhanāshri, 2. Bhimpalāsi 3. Dhāni, 4. Patdeep, 5. Pradeepaki, 6. Hanakinkini

13. Lalat - 1. Lalat, 2. Basant, 3. Pancham, 4. Prabhāt, 5. Lalitāgauri

14. Pilu - 1. Pilu, 2. Barwā, 3. Badhans

15. Sorath - 1. Sorath, 2. Des, 3. Tilak Kāmod,

4. Jaijaiwanti

16. Vibhās - 1. Vibhās, 2. Reva, 3. Jayatāshri

17. Nat- 1. Nat, 2. Gaud

18. Shri - 1. Shrirāga, 2. Tirvan, 3. Chaiti, 4. Deepak

19. Bāgeshri - 1. Bāgeshri, 2. Rāgeshwari, 3. Bahār, 4. Kaushik Kānhadā

20. Kedār - 1. Kedār Nat, 2. Bhawāni Kedār, 3. Kāmod, 4. Jaldhar Kedār

21. Shankarā - 1. Shankarā, 2. Mālashri, 3. Bihāg, 4. Hansadhwani

22. Kānhadā - 1. Darbāri, 2. Adāna, 3. Sugharāi,



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4. Shahāna, 5. Nāyaki, 6. Gunji, 7. Kānadā Malhār, 8.Husenikānadā 9. Mudriki 10. Kausi 11. Ᾱbhogi

23. Malhār - 1. Malhār, 2. Rāmdāsimalhār, 3. Soormalhār, 4. Gaudmalhār, 5. Meghmalhār, 6. Natmalhār, 7. Charjukimalhār, 8. Dhundiyāmalhār

24. Hindol - 1. Hindol, 2. Sohni, 3. Bhinnashadja, 4. Shuddha Sohni

25. Bhupāli- 1. Bhupāli, 2.Deshkār, 3. Jayat, 4. Jayat Kalyān

26. Ᾱsā- 1. Ᾱsā, 2. Durgā, 3. Bhawāni

He further explains the concept of Rāgāngas in two points –

"1. It is possible to describe the aforesaid angas even more briefly. For e.g., there can be one group for the rāgāngas of Sārang, Kānhadā and Malhār (rāgas).

2. In many rāgas, the āroha is of one type, i.e. having one (common) anga. Those rāgas too can come under one group. Yet, upon paying attention to the aforesaid groups of rāgas, one will come to know that in every group of rāgas, there is a specific type of rāgānga. It is because of this reason that so many rāgas come under one particular group, and look different from others. In these groups, that rāga is independent, in whose chalan (movement), behaviour or expansion, the rules of vādi-samvādi, alpatva-bahutva and shortening-extending etc. are followed as far as possible. All the rest are its angabhut [i.e. having the main rāga’s limb(s) as common for all, thus being its constituent] rāgas.”

He illustrates the above point, with the example of Bhairav, thus –

“For e.g., Bhairav is an independent rāga and other rāgas of the same group, which



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are associated with it, are dependent on it, meaning they are its constituent rāgas. Hence, they must be called ‘Rāgāngarāga’. Rāga Rāmkali is Bhairavānga. Even though, it uses teevra madhyam and komal nishād as a defined practice, yet it is a ‘rāgānga’ rāga by virtue of Bhairava anga being predominant in it. In the same way, Patdeep is a rāgānga rāga due to the dominant presence of Dhanāshri anga, even though it has shuddha nishād in it. Now, it will be prudent to say a few words about anga. In all the rāgas that are prevalent today in Hindustani sangeet, each one of them has its own independent uniqueness. This is what makes each rāga different from the other. This uniqueness is dependent on each particular category’s tonal composition and set of rules. The number of these tonal phrases is not unlimited. Mainly, those tonal phrases that commonly occur in many rāgas, are very limited in mumber. Their numbers are not more than twenty-five or thirty. These tonal phrases appear in the constituent rāgas of the main rāgas in a common manner, and (thus) become an anga, such as Sārang anga. In

the āroha of Des rāga is Sārang, as it is in Sorath. Same is the case in one type of Jaijaiwanti and in the āroha of Jaunpuri. In the same way, it is present in Adānā, Darbāri, Suhā-Nāyaki and Malhār etc too.” Further, he says – “In the same manner, the tonal phrases of specific angas, such as Kalyān anga, Bilāwal anga, Poorvi anga and Shri anga etc., which evoke specific rasas and emotions, I have stated all of these briefly for enhancing the knowledge of the eager learner…” He concludes soon after with the remarks that it is desirable that there be a widespread discussion on the Rāgānga paddhati, wherein the various opinions of the learned scholars can be incorporated, so that this important system can be spread far and wide. The concept of Rāgānga in modern Hindustani rāgas: In modern Hindustani music, the aspect of ‘rāgānga’ has a very important role to play in the concept of rāga. Just as a child has two parents in the



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form of a father and a mother, so too can a Hindustani rāga be considered to owe its existence to its parent scale – Thāta, and the parent melody – Rāga, from which it derives its anga(s) and thus becomes its ‘rāgānga rāga’, as stated by Pt. Khare above. The rāgānga rāga uses a set of specific svaras, that has been derived or imported from a major rāga. The former thus becomes that major rāga’s angabhut or constituent rāga. The following may be enumerated as the salient features of the Rāgānga paddhati – 1. Relationship between the

main and its constituent rāgas: The rāga, from which a specific set of svaras is taken out, which is then rechristened as anga, is the ‘mukhya’ / ‘pramukh’ (main) or swatantra (independent) rāga. The rāga, which employs these angas are termed ‘Rāgānga’ or ‘Rāgānga rāgas’.

2. The system of naming a rāgānga rāga:

A rāgānga rāga is named in two ways –

(a) With the name of the

main rāga as suffix – Prominent examples of this aspect are Ahir Bhairav and Shivmat Bhairav carrying the name of the main anga Bhairav as their suffix, or for that matter, Devgiri Bilāwal and Shukla Bilāwal carrying the name of the main rāga Bilāwal.

(b) Without the main rāga’s name as suffix – Carrying the afore-mentioned main rāgas as the same reference points for counter argument, rāga Rāmkali does not carry the name ‘Bhairav’ as its suffix, nor does Deshkār carry the name ‘Bilāwal’.

(c) Having the name of the main rāgas from which the angas are derived – There are rāgas, which carry the name of two main rāgas, whose angas are used, such as Nat



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Bhairav, which uses both the Nat anga (Sa Re, Re Ga, Ga Ma) and the Bhairav anga (Ga Ma dha Pa). The question that arises naturally is that why is it not named as ‘Bhairav Nat’? The answer to the system of naming a rāgānga rāga may be considered to be three-fold -

i. The rāgānga rāga can

be named on the basis of which anga is in the purvānga of the rāga and which one is in the uttarānga of that rāga. An apt example of this is Puriyā Kalyān, wherein Puriyā angas – ‘Ga m|a Dha Ga m|a Ga’ and ‘Ni m|a Ga’ are predominantly in the purvānga of the saptak, while the Kalyān phrases – ‘m|a Dha Pa’ and ‘m|a Dha Ni Dha Pa’, are in the uttarānga of the saptak.

ii. A rāgānga rāga can

also be named on the basis of which anga is predominant in the āroha and which one dominates in its avaroha. A case to this

point is Kaunsi Kānhadā,where the Kauns angas – ‘ni ga Sa’ and ‘ga Ma ga Sa’ are used more during ascent, while during descent, the Kānhadā angas – ‘ni Pa’ and ‘ga Ma Re Sa’ are used. Hence, the name Kaunsi Kānhadā.

iii. Some angas like Nat

are not so strong by nature, so while they have a presence, they do not dictate the chalan of the rāga. It is not that every time, one has to ascend, the Nat anga has to be compulsorily be used. Sometimes, it is ignored thus – Sa, Re Ga, Re Ga Ma… or Sa, ReGaMaPa Ga Ma Re Sa. So, Nat anga gives a unique flavour to the rāga, which distinguishes it from other Bhairav anga rāgas.

Some angas on the other hand, have a dominating presence. Bhairav anga is a case to the point. Even as Nat anga is being used



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in the purvānga, the presence of ‘dha’ either in the mandra or in the madhya saptak, as part of the Bhairav anga, is shown from time to time, thus –

Sa Re, Re Ga, Ga Ma S S, Ga Ma dha dha Pa…

or Sa Re, Re Ga Ma Ga Re, Sa Ni (Sa) Ni dha dha Pa, Ga Ma Ni dha dha Sa

Under the above circumstances, the naming of the rāga is determined on the basis of the overall flavour or essence of the rāga, which in this case is that of Bhairav, hence the name – Nat Bhairav. 3. Relationship of a rāgānga

rāga with its thāta: Usually, a rāgānga rāga would be belonging to the same thāta as the main rāga, such as Kedār and Bhupāli employing Kalyān anga and belonging to Kalyān thāta, just as is the case with the main rāga – Yaman. Alternately, there can be rāgas such as Bilāskhāni Todi, which uses the Todi anga of rāga Miyān ki Todi, but in variance with the

above aspect in the same point, Bilāskhāni Todi belongs to Bhairavi thāta, while Miyān ki Todi belongs to Todi thāta.

4. Use of one or more angas

in a rāgānga rāga: A rāgānga rāga may employ just one anga of the main rāga, while others may use more. This is usually determined by – (a) Presence or absence of

the svaras of the main rāga in the rāgānga rāga Let us take the case of Bhairav angas – ‘Ga Ma dha Pa’ and ‘Ga Ma re Sa’. Both these angas are used in Rāmkali, which has ‘re’, ‘Ga’ both madhyams, ‘Pa’, ‘dha’ and both nishāds. Thus, it has the key svaras – ‘re’ and ‘dha’ of Bhairav, enabling it to employ both of the Bhairav angas. On the other hand, is Ahir Bhairav, which uses only the anga - ‘Ga Ma re Sa’, because it uses ‘Dha’ in the uttarānga, which does not allow the use of the other



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anga of Bhairav. Similar is the case of Nat Bhairav, which uses just the anga – ‘Ga Ma dha Pa’, as it uses ‘Re’ in the purvānga.

(b) Chalan of the rāgānga

rāga, which may prohibit the use of more angas of the same rāga

Let us take Kāmod as an example. It uses both the madhyams, while the rest of the svaras are shuddha. Shuddha madhyam is used as a kan svara for Re while ascending – ‘Sa Ma

Re Pa’, and is part of the Hameer anga – ‘Ga Ma Dha Pa’, and Kāmod anga – ‘Ga Ma Pa Ga Ma Re Sa’. That however does not mean that teevra madhyam is weak in any way. It is used as part of the Kalyān angas – ‘m|a Pa Dha Pa’ and ‘Dha m|a Pa’. There is another Kalyān anga that is used – ‘PaDhaPaPa Sa’.

But the rāga does not use one of the main Kalyān angas – ‘Pa Ga

Re’ or ‘Pa Re Ga’. That is because of the chalan of the rāga, where in the purvānga, Kāmod anga, as also the phrase ‘Ga Ma Re Sa’, has a dominating presence in the avaroha.

Thus, the chalan of Kāmod is such that not all the Kalyān angas are used, even though the notes of the rāga are basically the same as that of the main rāga Kalyān or Yaman. 5. Use of different angas to

differentiate rāgas with the same or similar svaras:

Just because two rāgas have the same or similar set of svaras, it does not imply that one will have to use the anga of the other. For e.g., Mārvā and Puriyā have the same set of svaras – Sa, re, Ga, m|a, Dha and Ni. Yet, Mārvā and Puriyā are independent rāgas, whose angas are used by other rāgas. This is because even with the same svaras, the vādi-samvādi of Mārvā are ‘re-Dha’, while those of Puriyā are ‘Ga-Ni’. This emphasis on the main svaras is seen in the Mārvā angas – ‘re Ni Dha’ and ‘Dha m|a Ga re’, while the Puriyā angas are mainly – ‘Ni m|a Ga’ and ‘Ga m|a Dha Ga m|a Ga’. Another example is the duo of Bhupāli-Deshkār, which have the same set of svaras – Sa, Re, Ga, Pa and Dha.



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But while Bhupāli uses Kalyān angas – ‘Pa Re Ga’ and ‘Pa Dha Pa Sa’, Deshkār uses Bilāwal anga – ‘Dha Ga’. Of course, there are other differences too, such as those in vādi-samvādi, nyāsa svaras, singing time, omitted svaras, and so on. But the difference in anga is an important factor that distinguishes two rāgas with the same or similar svaras.

6. Distinguishing similar

rāgas of the same group on the basis of different angas: A rāgānga rāga may use one or more angas of only one rāga, while another similar rāgānga rāga of the same anga group can use various angas, i.e. angas belonging to other main rāgas too. For e.g., the rāgas Darbāri Kānhadā and Kaunsi Kānhadā belong to the Kānhadā anga or group of rāgas. Both have the same set of svaras – Sa, Re, ga, Ma, Pa, dha and ni. Both use the Kānhadā angas – ‘ni Pa’ and ‘ga Ma Re Sa’. But where the two are differentiated is that Kaunsi

Kānhadā also uses the Kauns angas – ‘ni ga Sa’, and ‘ga Ma ga Sa’, which Darbāri does not use. So, even though both the rāgas belong to the same group, i.e. Kānhadā, there is no bar on its constituent rāga, in this case Kaunsi Kānhadā, using the anga(s) of another major rāga, i.e. Mālkauns, to establish its format.

7. Differentiating similar

rāgas due to tonal embellishments on the same anga: It is not necessary that an anga is used in exactly the same way, as in the main rāga, and its rāgānga rāga, or for that matter, in two similar rāgānga rāgas. This is primarily due to the use of a tonal embellishment, or its lack of use, and sometimes, the difference in the use. This point may be explained thus, on the basis of the use of the following embellishments – i. Ᾱndolan – Prime example in this is that of the similar duo of Bhairav and Rāmkali, both of which are Bhairav anga rāgas. In Bhairav, the notes ‘re’ and



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‘dha’ are taken with an āndolan (swing) –

ii. Ga Ma ni dha ni dha Pa… and… Ga Ma Ga re ga re Sa

iii. But these two phrases are taken in Rāmkali without any āndolan on either ‘re’ or ‘dha’. That is because an āndolan on a svara signifies ‘gambhir’ or serious nature of the rāga, which Bhairav is. Rāmkali, on the other hand, is comparatively less serious, due to the presence of the phrases containing ‘m|a’ and ‘ni’ in the uttarānga of the rāga, namely ‘m|a Pa dha ni dha Pa’. It has elements of ‘chanchalta’ or playfulness in it. A mental picture of Bhairav would suggest Lord Shiva on Mt. Kailash in a deep meditative pose, while in Rāmkali, the same Shiva is meditating in the purvānga of the rāga, while in the uttarānga, his son – Bāl Ganesh, is in his naughty and playful elements, making it a less serious rāga than Bhairav.

iv. In the same vein, the Kānhadā phrase – ‘ga Ma Re Sa’ is taken in a

lengthier swinging manner in Darbāri Kānhadā, while in Adānā, it is taken in a fast and straight manner.

v. Nyāsa – Here, we may again take the duo of Darbāri Kānhadā and Adānā, both of which are Kānhadā anga rāgas. Both have Pa as the common nyāsa svara, where pause is made in the twin phrases – ‘Sa dha ni Pa’ and ‘Sa Pa ni Pa’. But whereas, in Darbāri, nyāsa on Pa is slow and prolonged because of its serious nature, pause on Pa in Adānā is much shorter in duration.

vi. Meend – Both Miyān ki

Malhār and Gaud Malhār use the common Malhār anga

Ma Re Ma Re Pa. But in Miyān ki Malhār, the meend between Re and Pa is slow and prolonged, due to the gambhir nature of the rāga, but in Gaud Malhār, the meend is much shortened, due to it being less serious in its chalan, i.e. movement, due to the



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presence of the Gaud anga - ‘Ga Re Ma Ga’ and Gaud Malhār’s own unique phrase – ‘Sa, ReGaMa Ga Ma’, both of which are somewhat chanchal by nature.

vii. Gamak – The rāgas Megh and Madhamād Sārang have exactly the same set of svaras, i.e. Sa, Re, Ma, Pa and ni. Megh is a Malhār anga rāga, while Madhamād Sārang, as the very name suggests, is a Sārang anga rāga. But the use of gamak in Megh is very pronounced, whereas it is totally absent in Madhamād Sārang. This may be illustrated thus –

The use of the phrase - Sa ni Pa Ma Re - in Madhamād Sārang, is such that gamak is absent, while the same phrase is performed in Megh in this way - Sa Pa ni Pa Ma Re, with a pronounced gamak not just on ‘ni’, but also on Ma.

viii. Murki – We may take

the examples of Hameer and Kāmod here. The Hameer anga – ‘Ga Ma Dha Pa’ is taken in Hameer thus –

(Pa) Ga Ma Ni

Dha…and…Pa Ga Ma Dha Pa Here, in the first phrase, there is a murki on Pa, while in the next, the murki is absent. But in Kāmod, the same phrase is always taken without murki, thus –

Sa Re Pa, m|a Pa Dha Pa, Ga Ma Dha Pa…

ix. Laya – This refers to tempo, not of tāla, as is usually the case, when we use this term, but of the rāga itself, i.e. the speed at which the notes are used in it. In most of the rāgas mentioned under the x. point of embellishments separating allied rāgas, one factor, that stands out and differentiates such rāgas, is the pace at which the rāgas, having the same or similar svaras, and employing the same angas, are sung. For e.g., Rāmkali is sung at a comparatively less slow pace than Bhairav. Gaud Malhār has a comparatively faster tempo than Miyān ki Malhār. The same can be said also about Madhamād Sārang being faster in pace than Megh, as is Adāna bearing a faster



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tempo than Darbāri Kānhadā. Another example is that of Poorvi and Paraj, which use the identical set of notes, viz. Sa, re, Ga, both madhyam, Pa, dha and Ni. Poorvi being a gambhir rāga, is sung in a slow and deliberate manner, while Paraj being a chanchal rāga, is sung at a faster pace. The Poorvi anga – ‘Pa m|a Ga Ma Ga’ is taken in a slow and measured manner in Poorvi, but is sung in a fast manner in Paraj.

8. Different ways of using the

same anga: The anga of the main rāga can be used in two ways in a rāgānga rāga – (a) The anga having both the same svara arrangement and tonal composition as that of the parent rāga –

What this means is that the notes of an anga of the main rāga, are used exactly as it is in the rāgānga rāga. In other words, both the arrangement of the svaras

of the anga, as well as the shuddhatva or vikritatva of the svaras of that anga, is not disturbed in any way when used in the rāgānga rāga. For e.g., the main Todi anga is – ‘re ga re Sa’. It is used as it is, without any alteration, in the angabhut or rāgānga rāgas such as Bahāduri Todi and Bhupāl Todi. Similarly, Mārvā anga - ‘m|a Dha Sa’ - is used unaltered in rāga Bhatiyār. As can be seen in both these cases, the original svaras are not disturbed in any way.

(b) The anga with the same svara arrangement, but a different tonal composition –

In this case, the tonal sequence of the svaras, i.e. the order of their placement, remain the same, but the shuddhatva or vikritatva of the svara(s) is altered. Taking the above two main rāgas – Todi and Mārvā as reference points, we see that the svaras of the aforementioned Todi anga are altered when used in the rāga Deshi Todi, thus – Re ga Re Sa Re…. Here, Rishabh has been changed



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from komal to shuddha, while keeping the arrangement of the notes the same as that of the Todi anga.

The same principle is applied to the twin angas of Mārvā – ‘re Ni Dha’ and ‘Dha m|a Ga re’, when they are used in Gurjari Todi, thus – ‘re Ni dha’ and ‘dha m|a ga re’. Similarly, Puriyā anga – ‘Ga m|a Dha Ga m|a Ga’ – is used in rāga Basant, thus - ‘Ga m|a dha Ga m|a Ga’.

Yet another example of this

is the rāga Bhupāl Todi. As the name itself suggests, it is a combination of the rāga Bhupāli and the anga of Todi. The āroha-avaroha of the rāga is – Sa re ga Pa dha Sa / Sa dha Pa ga re Sa. The tonal structure, as we can see, is the same as that of rāga Bhupāli, the only difference being that the shuddha notes - Re, Ga and Dha - of Bhupāli, have been replaced with their komal variants, taken from the Bhairavi thāta. Also, Todi anga – ‘re ga re Sa’ is used; thus, comes the rāga Bhupāl Todi into existence.

9. Role of the rāgānga system in the creation of mishra rāgas: The concept of Rāgānga, has a very important role to play in the creation of new rāgas. These new rāgas, more often than not, employ one anga or the other. They are known as ‘Mishra’ or ‘Mishrit’ rāgas. They can be created in two ways – (a) Admixture of an anga with the svaras of a thāta A prime example of the above procedure of creating a new rāga, is Ahir Bhairav, where the notes of the Kāfi thāta - Ma Pa Dha ni Sa - have been mixed with those of Bhairav. The presence of Bhairav anga – Ga Ma re Sa – in the purvānga, completes the rāga. The rāga thus looks like – Sa, re, Ga Ma, Pa, Dha ni Sa / Sa, ni Dha Pa, Ma, Ga Ma re Sa

(b) Addition of one or more angas belonging to different rāgas

A famous example of this is Miyān ki Malhār, created



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by the legendary Tansen. It was created by the addition of the Kānhadā angas – ‘Sa Pa ni Pa’ and ‘ga Ma Re Sa’ to the Malhār anga – Ma Re Pa – the latter being taken with a meend or glide between Re and Pa. The complete picture that forms is thus –

Sa, Ma Re Ma Re Pa, Ma Pa ni Dha ni Dha Ni Sa, Sa Dha ni Pa (or) Sa Pa ni Pa, Ma ga Ma ga Ma Re, Re Sa

10. The influence of an anga

on a rāga’s time of performance:

An anga of the main rāga determines the time of singing of its constituent rāgas, by virtue of the time of performance of the main rāga. In other words, both the main rāga, from which the anga is derived, and its constituent rāgas, are more or less, performed in the same time. There are many examples to illustrate this point. Let us see them. i. Prātahakālin sandhiprakāsh (from 4-7 a.m.) – In this period, Bhairav is sung and so are the Bhairav anga rāgas like

Rāmkali, Ahir Bhairav, Nat Bhairav, Prabhāt Bhairav, Ᾱnand Bhairav etc.

ii. First prahar of the day

(from 7-10 a.m.) – In this, Bilāwal anga rāgas are performed, such as Alhaiya Bilāwal, Yamani Bilāwal, Devgiri Bilāwal, Kukubh Bilāwal, Deshkār etc.

iii. Second prahar of the

day (from 10 a.m. – 1 p.m.) – Here, Ᾱsāwari anga rāgas like Ᾱsāwari, Jaunpuri, Komal Rishabh Ᾱsāwari, Dev Gāndhār, Gāndhāri etc are sung. In the same time-period, Todi anga rāgas are also performed, such as Miyān ki Todi, Gurjari Todi, Bilāskhāni Todi, Bhupāl Todi, Bahāduri Todi etc.

iv. Third prahar of the day (from 1-4 p.m.) – In this, Sārang anga rāgas are sung, such as Vrindāvani Sārang, Shuddha Sārang, Madhamād Sārang, Badahansa Sārang etc.

v. Sāyankālin

sandhiprakāsh (from 4-7 p.m.) – In this period, Puriyā anga rāgas like



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Puriyā and Puriyākalyān are sung.

vi. First prahar of the night

(from 7-10 p.m.) – In this, Kalyān anga rāgas are sung, such as Yaman, Bhupāli, Kedār, Kāmod, Chhāyānat etc. are performed. Also, in the same time zone of performance are the Bihāg anga rāgas, such as Bihāg, Māru Bihāg, Bihāgdā, Nand etc.

vii. Second prahar of the

night (from 10 p.m. – 1 a.m.) – In this period, Kānhadā anga rāgas are performed, such as Darbāri Kānhadā, Kausi Kānhadā, Nāyaki Kānhadā etc.

viii. Rainy season – During

the months of monsoon or Rainy season in India, ranging from June to September (depending on which part of the country one resides in), the Malhār anga rāgas are performed, such as Miyān ki Malhār, Megh Malhār, Rāmdāsi Malhār, Soor Malhār etc.

ix. Spring season – With the end of the winter season, especially in the north of India, the performance of the varieties of Basant and Bahār rāgas start, such as Basant, Bahār, Basant Bahār, Hindol Bahār etc. These are sung in the season of Basant or the Spring season, which falls mainly in February and March.

Thus, we can see that the performance of the rāgānga rāgas of a particular anga is clubbed together in a common time period. Conclusion: At the end of our discussion, we may conclude that the concept of ‘Rāgānga’ is a mode of classification of Hindustani rāgas, that has its origin in the ancient times, as found in the writings of Matanga and Shārangadeva. The former has explained Rāgāngas as being the shadows of grāma rāgas. This is quite similar to the present notion of the concept, wherein the rāgānga rāga carries one or more angas or limbs of one or more main rāgas, thus often having an



31

admixture of angas as part of its grammatical structure. The rāgānga rāga, therefore, owes its existence to not just the Thāta, that is the parent scale, but also the anga(s) of the main rāga(s). For a student of Hindustani classical music, it is very important to understand the rāgānga-paddhati, in order to learn a rāga in its entirety. It makes the learning of a new rāga much easier if he is aware of the tonal composition of the angas that are used in that rāga. For e.g., at the time of starting to learn Gaud Malhār, if he knows beforehand the following – 1. what Gaud anga is (Ga Re

Ma Ga) 2. what Malhār anga is (Ma Re

Ma Re Pa or Ma Re Pa) 3. what is the tonal shape of

Shuddha Malhār (MaPaDhaSa S S DhaPaMa Pa Ma)

4. what are the two descent phrases in the uttarānga of Miyān ki Malhār, of which one is used (Sa Dha ni Pa)

5. what is the characteristic tonal phrase 7 of the rāga itself (Sa ReGaMa Ga Ma)

7 Also known as ‘vishishta svara samudāya’

then, it becomes much easier for him to learn Gaud Malhār. All he then has to do, is to learn from his guru, how to sing or perform these angas along with the svaras of the rāga, what should be the pace of the ālāpa, what all embellishments must he use and the high or low frequency of their use, and how these angas would help him to differentiate the rāga from another Malhār rāga, such as Miyān ki Malhār. The syllabus of an educational institution can play a crucial role in imparting proper training of rāgānga. Introducing the concept at the postgraduate level, when a student is fairly mature, can make him understand the concept better, as also teach him how these angas must be used. For e.g., the Department of Music, University of Delhi, has the topic of rāgānga in the theory of M.A. (Previous), and deals with the practical aspect of it extensively in the M.Phil programme, wherein the rāgas are taught according to their angas, and on the basis of a further classification of prachalit (prevalent) and aprachalit (not-so-prevalent)



32

rāgānga rāgas. That is not to say that the rāgas are otherwise taught without explaining the ingredient of anga that constitutes the grammatical composition of a rāga. The same holds true for a Guru too, for he too must explain the significance, relevance and use

of each anga, when he teaches a rāga. Only then will a student / pupil properly understand how a rāga must be performed, after understanding the role of a rāga’s anga(s) in it.

References

(1) Sharma, Prem Lata (1994), Shrimatangamunipraneeta Brihaddeshi:

Brihaddeshi of Sri Matanga Muni. New Delhi, Delhi, Indira Gandhi

National Centre for Arts, Shlo. 264, Pg. 76-77

(2) Ibid. Shlo. 347, Pg. 200-201

(3) Ibid. Shlo. 349, Pg. 200-201

(4) Shringy, R.K. (1989) Shrishārangadevapraneeta

Sangeetratnākaraha. Vol. II, New Delhi, Munshiram Manoharlal

Publishers Pvt. Ltd., Pg. 14

(5) Seetha S. (Oct.-Dec. 1976) The Classification of Ragas: Raganga,

Bhashanga, Kriyanga and Upanga, Sangeet Natak, Vol. 42, Sangeet

Natak Akademi, New Delhi, Pg. 41

(6) Bisht, Krishna (1973) Significance of Rāgānga in Hindustani music,

The Journal of the Madras Music Academy, Vol. XLIV, Madras,

Tamil Nadu, Pg. 214

(7) Bhātkhande, V.N., (1970) Bhātkhande Sangeet Shāstra, Part IV,

Hathras, Uttar Pradesh, Sangeet Karyalaya, Pg. 29

(8) Patwardhan, Vināyakrāo (1981) Rāga Vigyān, Part VI, Pune,

Maharashtra, Sangeet Gaurav Granthamālā, Pg. 9-14



33

fp=iV laxhr esa cgqvk;keh laxhr funsZ'kd

enu eksgu dk ;ksxnku

MkW- lqjsUnz ukFk lksjsu

ekuo thou esa laxhr ,d vR;ar

egRoiw.kZ rFkk mi;ksxh dyk gSA laxhr]

l`f"V ds d.k&d.k esa O;kIr pjkpj ls

vfHkUu :i esa tqM+h gqbZ] ,d ,slh dyk

gS ftlls lEiw.kZ ekuo thou izHkkfor

gSA vk/kqfud le; esa yksd vkSj lqxe

laxhr rFkk 'kkL=h; laxhr bu rhuksa gh

osxorh /kkjkvksa ls feydj ,d ubZ

oSf'k"Viw.kZ /kkjk izokfgr gksrh vk jgh gS

ftls fp=iV laxhr dgk tkrk gSA

fp=iV dk vFkZ gksrk gS dFkkfp=] lekt

vkSj ekuo thou ds fofo/k i{k lR; ;k

dkYifud dFkk ds ek/;e ls fp=iVksa esa

vfHkO;fDr ikrs gSaA dq'ky funsZ'kd

dgkuh dk vko';drkvksa ds vuqlkj

xhr&laxhr dk lekos'k djrk gSA fp=iV

esa iz;qDr gksus okys xhr vkSj muds

laxhr dh fuekZ.k izfØ;k dHkh Hkh ,d

O;fDr rd lhfer ugha jgh gSA xhrdkj]

laxhrdkj] la;kstd] xk;d&xkf;dk,¡]

fofHkUu ok|&oknd] /ofu eqnzd bR;kfn

yksx rks blesa izR;{k Hkwfedk fuHkkrs gh

gSaA bu lcds vykok xhr dh jpuk

izfØ;k eas fp=iV ds funsZ'kd dk Hkh

egRoiw.kZ gkFk gksrk gSA1

Hkkjrh; fp=iV fuekZrkvksa us] fp=iV esa

,slk laxhr fn;k ftlus tu&ekul esa

viuh xgjh iSaB tek yhA bu fp=iV

fuekZrkvksa us izkjEHk esa Hkkjrh;

tu&ekul esa jph&clh ikSjkf.kd

dFkkvksa] ,sfrgkfld rF;ksa vkSj ik=ksa dks

/;ku esa j[kdj] fp=iV fuekZ.k fd;s

vFkkZr~ blds fy, laxhr Hkh viuh

ikjEifjd 'kSfy;ksa dks eq[kfjr djrk gqvk

gh pquk ijUrq ,sls laxhr dks ok|o`Unksa

}kjk] dykdkjksa dh e/kqj vkoktksa }kjk

ltk&laokjdj gh fp=iVksa ds lkFk&lkFk

tksM+k ftlls] laxhr vkSj fp=iV vkil

esa ,dne ?kqy&fey tk,¡A bruk gh ugha

vfirq laxhr ds fcuk fp=iV gh v/kwjk

yxs ,sls laxhr] fp=iVksa ds lkFk tksM+k

x;kA LokHkkfod gh Fkk fd ;g laxhr]

[kwc izpkfjr&izlkfjr gqvk vkSj /khjs&/khjs

Hkkjrh; tu ekul esa blus viuk LFkku

cuk fy;kA fp=iV laxhr gh gS ftlus

'kkL=h; laxhr dks tu lk/kkj.k rd

igq¡pk;kA2


34

,d dq'ky laxhrdkj dks fdlh Hkh

fp=iV ds xhr dh laxhr jpuk djrs

le; ml xhr ds izlax ;k fLFkfr rFkk

Hkko dk fo'ks"k :i ls [;ky j[kuk iM+rk

gSA xhrdkj vkSj laxhrdkj dk vkilh

lkeatL; vfuok;Z gSA blhfy,

laxhrdkj] xhrdkj rFkk fp=iV funsZ'kd

dk ijLij ckj&ckj feyuk cgqr

vko';d gSaA ;s rhuksa feydj vkil esa

fp=iV ds izlax ;k fLFkfr rFkk Hkko ds

fo"k; esa ppkZ djrs gSaA fp=iV funsZ'kd]

fp=iV ls lEcaf/kr lHkh ckrsa laxhrdkj

dks le>krk gSA blds vykok ;g Hkh

le>krk gS fd bu xhrksa dk fp=kkadu

fdl izdkj ls fd;k tk,xkA bu lHkh

ckrska dks vius eu esa j[kdj laxhrdkj]

xhr dh laxhr&jpuk djrk gSA3 bu lHkh

ckrksa dks /;ku esa j[krs gq, fp=iV

laxhr ds cgqvk;keh laxhrdkj enu

eksgu th dk ;ksxnku xkSjoiw.kZ rFkk

ljkguh; jgk gSA laxhrdkj enu eksgu

dk tUe 25 twu 1924 dks cxnkn

¼bZjkd½ esa gqvk tgk¡ ij muds firk

jk;cgknqj pqUuh yky bZjkdh iqfyl esa

tujy ,dkÅVS.V ds :i dk;Z dj jgs

FksA4 enu eksgu th us vius ckY;dky

ds izFke ikap o"kZ e/;iwoZ esa fcrk, FksA

ek= nks o"kZ dh vk;q esa og xzkeksQksu

ij fjdkMZ lqurs FksA enu eksgu dks

laxhr dh izfrHkk viuh ekrk th ls

fojklr esa feyh] tks fd Lo;a ,d

dof;=h vkSj laxhr dh egku iz'kald

FkhA enu eksgu brus izHkko'kkyh Fks fd

ek= lkr o"kZ vk;q esa os pdoky ds

laxhr lEiUu ckyd ds :i esa tkus

yxsA muds lEiznk; ds yksxksa vkSj

fj'rsnkjksa esa muds xkuksa dks lquus dh

mRlqdrk jgrh FkhA5 pdoky ,d NksVk

lk 'kgj Fkk vkSj ogk¡ ij f'k{kk o vU;

lqfo/kk,¡ csgrj ugha FkhA rc jk;cgknqj

pqUuhyky us vius ifjokj dks ykgkSj ys

tkus dk fu.kZ; fd;kA mlds ckn mUgksaus

fgeka'kq jk; ds lkFk ^^ckEcs&VkWdht**

vkjEHk fd;k vkSj vius ifjokj dks

ykgkSj ls cEcbZ cqyk fy;kA fo|ky; ds

fnuksa esa enu eksgu th us ^^vky bafM;k

jsfM;ks cEcbZ esa cPpksa ds dk;ZØeksa esa

Hkkx yrs FksA cEcbZ ds lsaV eSjh gkbZ

Ldwy ls lhfu;j dSafczt ijh{kk mÙkh.kZ

djus ds i'pkr enu eksgu th us vius

firkth dh ftn ij nsgjknwu ds duZy

czkmu ds gkbZ Ldwy esa nkf[kyk ys fy;kA

blds ckn oks 1943 esa lsuk esa HkrhZ gks

x,A6 mu lkyksa esa mUgksaus vkRefo'okl]

la;e] ,dkxzrk] izfrc)rk vkSj

vuq'kklu tSlh phtsa lsuk esa jgdj

lh[khA mUgksaus vius thou ds bl le;

dks ,d ca/ku dh rjg fy;kA enu eksgu

th laxhr ds NksV&NksVs dk;ZØeksa ls vius

lg;ksfx;ksa dk euksjatu djrs gq, Lo;a

dks vius lg;ksfx;ksa esa yksdfiz; cukrs

pys x,A lu~ 1945 esa f}rh; fo'o;q)

fp=iV laxhr esa cgqvk;keh laxhr funsZ'kd enu eksgu dk ;ksxnku


35

ds lekIr gksus ij enu eksgu th us

lsuk dh ukSdjh NksM+ nh vkSj vkWy bafM;k

jsfM;ks y[kuÅ esa ,d lgk;d izksxzkej

ds :i esa dk;Z djus yxsA7 ml le;

os 21 o"kZ ds FksA ,-vkbZ-vkj ds mu

fnuksa esa 'kkL=h; laxhr ds lHkh dykdkj

vyh vdcj [kk¡] vCnqy okfgn [kk¡] ia-

jkeukjk;.k] csxe v[rj] foyk;r [kk¡]

jks'kukjk csxe] ryr egewn vkSj QS¸;kt

[kk¡ 'kkL=h; laxhr ds foLr`r Kkrk FksA

bu lHkh dykdkjksa ds fy, dk;Z djrs

gq, enu eksgu us vius laxhr dk tknw

fc[ksjk vkSj ,d ok|oan fuekZ.k dj

fy;kA os vius bl iy dks cM+s xoZ ls

c;ku djrs Fks tc mUgsa izfl) ljksn

oknd vyh vdcj [kk¡ us vius laxhr

fjdkMZ esa Hkkx ysus dk volj iznku

fd;kA ,- vkbZ- vkj y[kuÅ dk

laxhre; okrkoj.k [kq'kcw dh Hkk¡fr QSy

x;kA dqN le; i'pkr~ gh enu eksgu

us yksxksa ds vuqxzg ij /kqu] cksy vkSj

laxhr ds NksVs&NksVs VqdM+s y;c) djus

'kq: dj fn,A8 mlh le; enu eksgu

fnYyh ds vky bf.M;k jsfM;ks ij

LFkkukUrfjr gks x, vkSj ogk¡ os 'ks[kj

vkSj jkt esgjk ls feys] tks viuh

fdLer vtekus ds fy, cEcbZ tkus dh

;kstuk cuk jgs FksA bu rhuksa us cEcbZ

tkdj fp=iVksa esa viuh fdLer

vktekus dk fu.kZ; fd;kA enu eksgu

th us viuk fp=iVh; thou fQYehLrku

ds fp=iV ^'kghn* ls vkjEHk fd;kA

enu eksgu us lcds fy, laxhr cuk;k

vkSj os vPNh dfork,¡ Hkh fy[k ysrs Fks

blfy, mUgksaus xhrksa ds cksy Hkh fy[kus

vkjEHk dj fn,A enu eksgu th laxhr

funsZ'ku dh jkg ij os fujUrj vkxs

c<+rs jgs vkSj viuk ,d vyx Lrj

vkSj vankt Hkh dk;e fd;kA9

enu eksgu th dk fp=iVksa esa laxhrdkj

ds :i esa inkiZ.k fp=iV ^^vk¡[ksa**

¼1950½ ds laxhr funsZ'ku ls gqvkA10

fp=iV ds fuekZrk o funsZ'kd muds

ilanhnk nsosUnz xks;y FksA enu eksgu th

ds laxhr funsZ'ku esa loZizFke bl fp=iV

dk tks xhr fjdkWMZ gqvk og eqds'k dk

xk;k ^izhr* yxk ds eSaus ;s Qy ik;k*

xhr FkkA enu eksgu th us yrk eaxs'kdj

th dks engks'k ¼1951½ esa xkus dk

lqvolj iznku fd;k vkSj os xhr vkSj

laxhr funsZ'ku ls cgqr [kq'k gqbZA ^vk¡[ksa*

rFkk ^vnk* ds laxhr funsZ'ku ds ckn

mUgsa ,d u;k vk;ke~ fn;k ts- ch- ,p-

okfM;k ds fp=iV ^engks'k* ¼1951½ usA

;g fp=iV ,d pqukSrh ysdj vk;k vkSj

crkSj ,d laxhrdkj enu eksgu ds fy,

,d izsj.kk cukA blds ckn enu eksgu

th us ^^vkf'k;kuk** ¼1952½ ds fp=iV

ds fy, laxhr fn;kA ftlds ckn mudh

fxurh f'k[kj ds laxhrdkjksa esa gksus yxhA

;g fp=iV muds lcls csgrjhu



36

fp=iVksa esa ls ,d Fkk ftlesa muds laxhr

dh /kquksa dk tknw Fkk] fo'ks"k :i ls ryr

egewn dk xk;k xhr ^êSa ikxy esjk

euok ikxy** ftls cukus esa enu eksgu

dks ,d eghus dk yEck le; yxk FkkA11

fp=iV vkf'k;kuk ds i'pkr fueksZgh]

ckxh] /kqu] eLrkuk] jsyos IysVQkeZ]

fQ¶Vh&fQ¶Vh* vkSj HkkbZ&HkkbZ esa

vfoLej.kh; laxhr fn;kA fp=iV

HkkbZ&HkkbZ cgqr lQy jgk vkSj blds

xkus cgqr yksdfiz; gq,A fp=iV

HkkbZ&HkkbZ dk xhr Fkk ^,s fny eq>s crk

ns* tks cgqr yksdfiz; gqvkA

fp=iV HkkbZ&HkkbZ dh lQyrk us

laxhrdkj enu eksgu dh >ksyh es dke

dk <sj yxk fn;kA lu~ 1957 esa enu

eksgu us fp=iV ^ns[k dchjk jks;k* dk

laxhr funsZ'ku fd;kA ^ns[k dchjk jks;k*

ds i'pkr ^fp=iV ^xsVos vkWQ bafM;k*

es Hkh buds laxhr dks cgqr ljkgk x;kA

laxhrdkj enu eksgu dh yksdfiz;rk

fp=iV ^vnkyr* ¼1958½ ds laxhr

funsZ'ku ds i'pkr vR;f/kd c<+ xbZA

^tkuk Fkk gels nwj cgkus cuk fy;s*]

^mudks ;s f'kdk;r gS*] ^tk tk js tk

lktuk*] tehu ls gesa vklek ij** ,d

gh fp=iV esa dbZ e/kqj /kqusa cukbZA bl

fp=iV ds laxhr us enu eksgu th dks

xt+yksa dk csrkt ckn'kkg cuk fn;kA

blds ckn mUgksaus xt+yksa dh /kqusa cukbZ

vkSj gj ckj ,d u;k edke gkfly

fd;kA12

fp=iV ^la;ksx* ¼1961½ ds lkFk gh

enu eksgu vius oànoknu vkSj 'kSyh ds

:Ik esa laxhr nsus esa ifjorZu yk,A ;g

cgqr vPNk e/kqj vkSj foy{k.k laxhr

izcU/k FkkA fp=iV ^êuekSth** ¼1962½

vkSj ^vui<+* ¼1962½ enu eksgu ds

laxhr funsZ'ku esa ifjorZu dk eq[; xokg

FksA 1962 esa eksgu lgxy }kjk funsZf'kr

fp=iV ^vui<+* iznf'kZr gqvkA ftlesa

laxhrdkj enu eksgu ds laxhr dk tknw

tuekul ds eu&efLr"d ij iwjh rjg

Nk x;kA yrk eaxs'kdj dh vkokt dk

enu eksgu us cgqr dq'kyrk ls mi;ksx

fd;kA fp=iV ds xhr ^ft;k ys x;ks th

eksjk lakofj;k* gS blh esa I;kj dh vkc:

vkSj ^vkidh utjksa us le>k I;kj ds

dkfcy eq>s* bldk loZJs"B mnkgj.k

FksA13 ;g /kqu enu eksgu us iSMj jksM

fLFkr vius fuokl ls Qsel LVwfM;ks ds

chp ek= lkr&vkB feuV ds Qklys ds

nkSjku dh FkhA

enu eksgu ds laxhr dh ;g ubZ 'kSyh

cgqr vkfRed Fkh vkSj fp=iV txr esa

bldk cgqr vuqlj.k fd;k x;kA vc

ml le; ds u, jpukdkj muls vf/kd



37

izHkkfor gksus yxs FksA enu eksgu ds

vkjafHkd le; esa ukf;dk iz/kku fp=iVksa

ds fuekZ.k dk izpyu Fkk ftlesa mUgsa

viuh izfrHkk fn[kkus dk vR;f/kd

volj iznku fd;kA dqN yksx bl dkj.k

bUgs ysfMt daikstj dg dj Hkh lEcksf/kr

djrs FksA14 mUgksus iq:"k xk;dksa dh

vis{kk L=h xkf;dkvksa ds fy, vf/kd

xhr o /kqusa cukbZA

1960 ds n'kd esa laxhr funZsf'kr

fp=iVksa esa enu eksgu th ,d vuqHkoh]

vkRefo'oklh vkSj iz;ksxoknh laxhrdkj

ds :Ik esa mHkj dj lkeus vk,A vius

laxhr funsZf'kr fp=iVksa esa jkxksa ij

vk/kkfjr xhr] Bqejh] x+t+y ds lkFk&lkFk

gh izse xhr vkSj ik'pkR; xhr&laxhr dk

Hkh leku :Ik ls leUo; fd;kA15 lu

1964 esa laxhrdkj enu eksgu }kjk

laxhr funsZf'kr vkidh ijNkb;ka ¼,d

izse dgkuh½] xt+y ¼,d laxhrkRed

fp=iV½] gdhdr ¼;q) ij vk/kkfjr½]

tgk¡vkjk ¼,d ikSjkf.kd dFkk½] iwtk ds

Qwy] ¼,d ikfjokfjd Mªkek½] 'kxqu ¼,d

lkekf.kd dFkk½] oks dkSu Fkh ¼,d

jgL;kRed fp=iV½] 'kjkch o lqgkxu

lfgr dqy vkB fp=iV FksA1+6 ijUrq

muds fy, fp=iVksa dh la[;k ls T;knk

vge muds laxhr dh rduhd u;kiu

vkSj laxhr dk Lrj T;knk egRoiw.kZ FkkA

laxhrdkj enu eksgu th us vius

mRd`"V xhr laxhr dks fp=iV dh dFkk

vkSj ifjfLFkfr;ksa ds vuqdwy jpk ftlus

fp=iV dh dFkk dks mHkkjus esa egRoiw.kZ

Hkwfedk fuHkkbZA

lu 1965 esa ^fj'rs ukrs*] 1966 esa

^nqYgu ,d jkr dh^ ds ^,d glhu 'kke

dksa*] êSus jax yh vkt pqufj;k* tSls

xhr cgqr yksdfiz; gq,A17 blh o"kZ

laxhrdkj enu eksgu th us fp=iV

êsjk&lk;k* esa vfoLej.kh; laxhr fn;kA

fp=iV ds lHkh xhr ^vkids igyw esa

vkdj*] ^rw tgk¡&tgk¡ pysxk*] 'kh"kZd

xhr ûSuksa esa cnjk Nk,* cgqr yksdfiz;

gq, vkSj blds lkFk gh ,d vU;

lnkcgkj xhr ftldh viuh ,d vyx

fo'ks"krk gS ^>qedk fxjk js cjsyh* tks

lokZf/kd yksdfiz; gqvk rFkk tks mÙkj

izns'k ds yksd xhr ij vk/kkfjr gSA

blds Ik'pkr lu 1967 esa fp=iV

uksfugky iznf'Zkr gqvkA fp=iV dh

dgkuh ,d ,sls yM+ds ds bnZ&fxnZ /kqerh

gS tks pkpk usg: ls feyus dh bPNk

j[krk gSaA jpukdkj dh utj esa fp=iV

ukSfugky esa eks0 jQh dk xk;k xhr esjh

vkokt lquks* iznf'Zkr gksus ls igys gh

dkQh yksdfiz; gks x;k Fkk blesa iafMr

th ds e`r 'kjhj dks muds vfUre lans'k

nsus ds :Ik esa n'kkZ;k x;kA blh o"kZ enu

eksgu }kjk laxhr funsZf'kr fp=iV ^tc

;kn fdlh dh vkrh gS*] iznf'kZr gqbZA



38

bl fp=iV dk izR;sd xhr ^<¡w<s rq>dks

uSu nhokus*] ^vjh vks 'kks[k dfy;ksa

eqLdkjk* rFkk 'kh"kZd xhr tc ;kn fdlh

dh vkrh gS* cgqr yksdfiz; gq,A 1968

esa iznf'kZr fp=iV ^,d dyh eqLdkbZ* ds

xhr ^yks ,d dyh eqLdkbZ* rFkk uk rqe

csoQk gks laxhr dh n`f"V ls cgqr

yksdfiz; jgsA

lu~ 1969 esa laxhrdkj enu eksgu

vkSj xhrdkj et:g lqYrkuiqjh us

fp=iV ^fpjkx* esa lQy xhr&laxhr

fn;k] fp=iV dk e/kqj laxhr ^Hkksj gksrs

dkxk* rsjh vk¡[kksa ds flok nqfu;k¡*] NkbZ

cj[kk cgkj* rFkk ^fpjkx fny dk

tykvks*] tSls xhrksa ds ekè;e ls Jksrkvksa

ds ân; esa jp&cl x;kA

lu 1970 esa enu eksgu ds }kjk laxhr

funZsf'kr fp=iV] nLrd iznf'kZr gqvkA

cbZ;k¡ uk /kjks] ekbZ jh eSa dkls dgw¡* vkSj

^ge gS erk&,&dwpk* tSls xhr o"kZ ds

loZJs"B laxhr funsZ'ku ds dkj.k

^^jk"Vhª; iqjLdkj** ds fy, pqus x,A ;g

igyh ckj gh gqvk Fkk tc enu eksgu

dks e/kqj laxhr jk"Vhª; iqjLdkj* ds fy,

pquk x;kA18 blds Ik'pkr blh o"kZ

iznf'kZr fp=iV ^ghj&jk¡>k* nLrd ls

izsfjr fp=iV FkkA

blds Ik'pkr 1972 esa fp=iV ckophZ

dk izn'kZu gqvkA ftlesa enu eksgu th

}kjk laxhr funsZf'kr ^Hkksj vkbZ x;k

vaf/k;kjk*] ^rqe fcu thou dSlk thou*

rFkk êsjk uSuk cgk, uhj*] xhr cgqr

yksdfiz; gq,A

blds Ik'pkr o"kZ 1973 esa iznf'kZr fny

dh jkgsa*] fgUnqLrku dh dle* vkSj g¡¡¡lrs

t[e* xhr&laxhr ds n`f"V ls cgqr lQy

jgsA rhuksa fp=iV esa ,d ckj fQj

laxhrdkj enu eksgu us vius e/kqj

laxhr dk tknw fc[ksjkA

blds Ik'pkr o"kZ 1975 esa fuekZrk o

funsZ'kd xqytkj vkSj enu eksgu ds

laxhr funsZ'ku esa fp=iV êkSle* dk

izn'kZu gqvkA fp=iV ds lHkh xkus êsjs

b'd esa yk[kksa] :ds&:ds ls dne* rFkk

^fny <¡w<+rk gS fQj ogh* vius e/kqj

laxhr ls ân; dks Nw ysrs gSaA

1975 dk ;g o"kZ ,d nq[kn ?kVuk ysdj

vk;k 14 tqykbZ 1975 dks

fuekZrk&funsZ'kd psru vkaun ds fuokl

LFkku ij muds fp=iV

lyhe&vukjdyh* ds laxhr fuekZ.k ds

nkSjku] yhoj dh chekjh pyrs enu

eksgu dk vdLekr fu/ku gks x;kA

1976 esa mudh e`R;q ds Ik'pkr muds

}kjk laxhr funsZf'kr fp=iV ySyk etuw¡*

iznf'kZr gqvkA ;g HkkX; dh foMEcuk Fkh



39

fd fp=iV esa yrk eaxs'kdj }kjk xk;k

xhr ^gqLu gkftj gS eqgksCcr dh lt+k

ikus dks* laxhrdkj egu eksgu dh e`R;q

ds Ik'pkr muds fp=iVh; thou dk

lcls vf/kd lQy xhr gqvk vkSj lu~

1976 esa yrk eaxs'kdj }kjk xk;k

loZJs"B xhr Hkh pquk x;kA mudh e`R;q

Hkh muds fy, izfl} vkSj 'kksgjr ysdj

vkbZA

lu 1976 esa Ik'pkr muds }kjk laxhr

funsZf'kr dqN vU; fp=iV] ^lkfgc

cgknqj* ¼1976½] 'kjkQr NksM+ nh eaSus

¼1976½] bZaLiSDVj bZaxy ¼1978½] tyu

¼1978½ rFkk pkyckt ¼1980½ dk

izn'kZUk gqvkA ftlesa eqf'dy gS csnnksZa dh

nqfu;k esa thuk ¼lkfgc cgknqj½] jkr

mt;kjh fnu va/ksjk gS ¼pkyckt½ rFkk

^'kjkQr NksM+ nh eSusa ¼'kjkQr NksM+ nh

eSaus½ bR;kfn xhr Hkh yksdfiz; gq,A enu

eksgu th us vius thou esa yxHkx 92

fp=iVksa es laxhre; funsZ'ku fd;kA

vius e/kqj vkSj yksdfiz; laxhr ds fy,

laxhrdkj enu eksgu dks vkt Hkh ;kn

fd;k tkrk gsSA

lUnHkZ

1- MkW0 mek xxZ] laxhr dk lkSUn;Zcks/k] i`0 98

2- MkW0 foey] fgUnh fp=iV ,oa laxhr dk bfrgkl i`0 60

3- loky tokc] ek/kqjh] 11 vizSy 1986] i`"B & 54

4- , fVªC;wV Vw enu eksgu] ,s ou Ms lsfeukj vkWu enu eksgu] 17] tqykbZ 2005]i`0 17

5- fo'okl us:jdj] enu eksgu vYVhesV eSykWMht] i`0 17-

6- , fVªC;wV Vw enu eksgu] ,s ou Ms lsfeukj vkWu enu eksgu] 17 tqykbZ 2005] i`ñ 17-

7- fo'okl us:jdj] enu eksgu vYVhesV eSykWMht] i0 22-

8- fo'okl us:jdj] enu eksgu vYVhesV eSykWMht] i`0 24-

9- fo'okl us:jdj] enu eksgu vYVhesV eSykWMht] i`0 28]29-

10- , fVªC;wV Vw enu eksgu] ,s ou Ms lsfeukj vkWUk enu eksgu] 17 tqykbZ 2005] i`0 17-

11- fo'okl us:jdj] enu eksgu vYVhessV eSykWMht] i`0 34-

12- jfojkt iz.kkeh] rqe D;k tkuksa rqe D;k gks] /keZ;qx 16 tqykbZ 1990-

13- MkWñ foey] fgUnh fp=iV ,oa laxhr dk bfrgkl] i`0 123-

14- fo'okl us:jdj] enu eksgu vYVhesV eSykWfMt] i`0 39-

15- , fVªC;wV Vw enu eksgu] ,s ou Ms lsfeukj vkWu enu eksgu] i`0 26-




19- ,e0,y0/kou] fny <w¡<rk gS fQj ogh] n fVªC;wV] jfookj 8 tqykbZ 2001-



40

ia- fou;pUnz ekSn~xY; dh cfUn'kksa ds izsj.kk lzksr %

ia- fouk;djko iVo/kZu

fjUnkuk jgL;k

ih,p-Mh- 'kks/kkFkhZ laxhr ladk; fnYyh fo'ofo|ky;] fnYyh

'kkL=h; laxhr dk izpkj&izlkj ftlds

thou dk ,dek= y{; Fkk] ,sls

laxhr&izoh.k] laxhr&pwM+kef.k] laxhr

egkegksik/;k;] loZJs"B jpukdkj ,oa

mPpdksfV ds laxhrK Fks] ia- fouk;djko

iVo/kZuA mudk tUe 10 tqykbZ] 1898

bZ- dks fejt ds ,d ejkBh ifjokj esa

gqvkA loZizFke mUgksaus vius pkpk Lo-

ds'kojko iVo/kZu ls laxhr dh f'k{kk

yhA blds i'pkr~ os fejt ls ykgkSj

pys vk,] tgk¡ os laxhr dh egku foHkwfr

,oa Xokfy;j ijEijk ds] ia- fo".kq

fnxEcj iyqLdj th ls laxhr dh fof/kor

f'k{kk ysus yxsA*1 vius iwT; xq: th dh

vkKkuqlkj ia- fouk;djko th us xka/koZ

egkfo|ky; dh cEcbZ] ykgkSj ,oa ukxiqj

'kk[kkvksa esa laxhr v/;kiu dk dk;Z

fd;kA2 mudh lgt&lqjhyh ehBh vkokt+

ls izHkkfor gksdj ^cky xa/koZ* th us

mudks viuh xa/koZ ukVd eaMyh esa

lfEefyr dj fy;kA ^fdarq ;g O;olk;

ia- fo".kq fnxEcj th dks ilUn ugha FkkA

vr% dqN le; ckn mUgksaus ;g ukSdjh

NksM+ nh ,oa lu~ 1932 esa xka/koZ

egkfo|ky; dh ,d 'kk[kk iwuk esa

LFkkfir dh ftldh lsok esa os vuojr

yxs jgsA3 mUgksaus :l vkfn ns'kksa esa Hkh

Hkkjrh; laxhr dk izlkj fd;k vkSj

vius xq:o;Z ds ikou ekxZ ij var rd

n`<+ jgsA

laxhr lh[krs le; fo|kfFkZ;ksa dks

fdu&fdu ckrksa dk /;ku j[kuk pkfg,]

blds mÙkj esa ia- iVo/kZu th dk dguk

Fkk fd ^vH;kl djus ls iwoZ xq:fu"Bk

cgqr vko';d gSA igys de ls de 10

o"kZ rd laxhr dk vH;kl djus ds ckn

gh laxhr&lHkk esa Hkkx ysuk pkfg, rFkk

laxhr ftKklkvksa dks laxhr dh f'k{kk

nsuh pkfg,A4 mUgksaus cgqr ls f'k"; rS;kj

fd, ftuesa ls ,d gSa&ia- fou;pUnz

ekSn~xY;A

ia- fou;pUnz ekSn~xY;] tks ^HkkbZ&th* ds

uke ls vf/kd yksdfiz; gq,] dk tUe 2

vizSy lu~ 1918 bZ- dks gfj}kj ds

fudV xq:dwy dk¡xM+h fo'ofo|ky; esa

gqvkA5 ifjokj esa lkfgR; vkSj laxhr dk

ekgkSy Fkk] ftl dkj.k nkuksa {ks=ksa esa

ckY;dky ls gh fou;pUnz th dh :fp

FkhA lqizfl) lkfgR;dkj Jh tSusUnz

dqekj ls lkfgfR;d v/;;u vkjEHk dj

mPp f'k{kk ds v/;;u ds fy, mUgksaus

vius vxzt ia- cq)nso fo|kyadkj] tks

fd izfFkr;'k oSfnd fon~oku] fgUnh ds

dq'ky dfo] laLd`r o vaxzsth Hkk"kkvksa ds

izdk.M if.Mr Fks] ls ykgkSj esa jgdj

lkfgfR;d f'k{kk xzg.k dh vkSj ;gha

ykgkSj esa ia- fo".kq fnxEcj iyqLdj th]

}kjk LFkkfir xka/koZ egkfo|ky; esa


41

ekSn~xY; th dh eqykdkr muds ofj"B

f'k"; ia- fouk;d jko iVo/kZu th ls

rc gqbZ tc 1935 esa iVo/kZu th ykgkSj

vk,A ekSn~xY; th dk xkuk lqudj

mUgksaus bUgsa viuk f'k"; cukuk Lohdkj

fd;kA6

twu 1936 esa ekSn~xY; th iwuk igq¡ps

,oa ;gha vius xq: ia- iVo/kZu th }kjk

LFkkfir xka/koZ egkfo|ky; esa nkf[ky gks

x,A ^iafMr fouk;djko iVo/kZu th mu

fnuksa ^jkx&foKku* xzUFkekyk dk lEiknu

dj jgs FksA xzzUFk fgUnh esa gksus ds dkj.k

mlds ys[ku dk cgqr dqN mÙkjnkf;Ro

ekSn~xY; th ds Åij FkkA bl izdkj

izR;sd jkx dh lw{erk dks le>us dk

lqvolj ekSn~xY; th dks izkIr gqvkA7

vius xq:th ls izHkkfor gksdj fou;pUnz

ekSn~xY; th us ^xhr&eatjh* uked

iqLrd izdkf'kr dh ftlesa mUgksaus

Lojfpr cfUn'ksa ladfyr dhA fou;pUnz

th dk ekuuk Fkk fd Hkkofo'ks"k dh

vfHkO;fDr ds vuqdwy Loj rFkk

'kCnjpuk gksuh pkfg,A ^os mu

egkuqHkkoksa ds l[r fojks/kh Fks ftuds

vuqlkj 'kkL=h; laxhr esa dfork

¼lkfgR;½ dks dksbZ egRo ughaA8

^jkx&foKku* ds vuqlkj ^cafn'k esa 'kCnksa

dks dsoy Lojksa dks Vkaxus dh [kwaVh

leku le>uk ,d cM+h Hkwy gSA orZeku

esa cfUn'k dh Hkk"kk] cfUn'k esa vkusokys

'kCn] 'kCnksa ds vFkZ bR;kfn Jksrkx.k dks

[kwc vPNh rjg ls Kkr gS vkSj blfy,

;fn dykdkj lgh 'kCnksa dk mi;ksx ugha

djsaxs] Hkk"kkKku voxr ugha djk ysaxs]

rks Jksrkx.k larq"V ugha gksaxsA tSlk fj'rk

ijes'oj&HkDr esa] fiz;dj&isz;lh esa]

ifr&iRuh esa] oSlk fj'rk Loji{k vkSj

'kCni{k esa Hkh pkfg,A9

vius xq: ds gh leku HkkbZ th us Hkh

cfUn'kksa dh jpuk esa Hkkf"kd i{k dk

cjkcjh ls /;ku j[kk gS vkSj ;gh dkj.k

gS fd mudh jpukvksa esa gesa bl Hkk"kk

foosd ds c[kwch n'kZu gksrs gSaA mnkgj.k

Lo:i& ekyxaqth jkx esa rhu rky esa

fuc) ;g cfUn'k yhft,&

LFkkbZ&dkgs lqanjok cksys ukghaA

vc ekSu Hk;s rqe eku /kkjA

varjk&dk eksis pwd ijh fi;jok]

ekur uk cgq csj euk;sA

euk euk gkSa gkjh gkjhAA10

;gk¡ ij ^cksyr ukgha* ds cnys ^cksyks

ukgha* dk iz;ksx gqvk gSA ftldk mi;ksx

dj HkkbZ th us ^cksyr* ds r&dkj dh

iq:"krk dks gVk fn;k gSA blh izdkj

^D;k* ds LFkku ij dk* vO;; dk iz;ksx

djds mUgksaus bl 'kCn dks laxhrkuqdwy

cuk fy;k gSA11

cfUn'k esa vkus okys 'kCnksa dk mPpkj.k

lkQ gksuk pkfg,] 'kCnksa dk vFkZ&igys

dykdkj dks Bhd rjg ls Kkr gksuk

t+:jh gS vkSj ml vFkZ dk ogu

Jksrkx.k rd igq¡pkus dk iz;kl vko';d

gSA vkt Hkh ,sls lqf'kf{kr dykdkj gSa]

ftuds xkus esa Loji{k cgqr gh

izHkko'kkyh gS] Hkk"kkKku Hkh cgqr vPNk

gS] ysfdu oks 'kCni{k ds izfr brus

mnklhu gSa fd oks fdu 'kCnksa dk mPpkj

dj jgs] bldk Jksrkx.k dks irk gh ugha

ia- fou;pUnz ekSn~xY; dh cfUn'kksa ds izsj.kk lzksr % ia- fouk;djko iVo/kZu


42

yxrkA blls mudh dyk esa ,d

v/kwjkiu jg tkrk gSA dbZ ckj ,slk Hkh

gqvk fd tks cafn'ksa xq:ijaijk }kjk tSlh

feyh oSlh daBLFk dh] blls Qk;nk t+:j

gqvk fd vly esa tks cafn'k Fkh oSlh gh

oks vkxs dh ih<+h esa laØfer gqbZ] ysfdu

cfUn'k esa tks 'kCn vkrs Fks muds vFkZ

lgh ekywe ugha gksus ls xyr 'kCnksa dk

mPpkj.k tSlk dk rSlk gksrk jgkA ^ckn

esa tutkxj.k 'kq: gqvkA ifj.kker%

iqjkuh cafn'kksa dh Hkk"kk'kqf) gqbZA*12

Bhd blh izdkj fou;pUnz

ekSn~xY; th Hkh viuh iqLrd xhr eatjh

esa fy[krs gSa fd ^cgqr lh iqjkuh cfUn'ksa

,slh Hkh gSa fd ftuds vusd 'kCn ih<+h

nj ih<+h cnyrs vkSj fcxM+rs gq, vkt

cgqr fod`r vkSj fujFkZd gks x;s gSaA

xq:eq[k }kjk loZFkk vfyf[kr izf'k{k.k

esa bl izdkj dh xyfr;ka gksuk LokHkkfod

gS fdUrq dqN ijaijkoknh Hkk"kk dh bu

v'kqf);ksa dks Hkh lq/kkjus dks blfy,

rS;kj ugha gS fd muds ?kjkus esa ;g pht+

,sls gh xkbZ tkrh gS ;k laxhr esa 'kCnksa

dk dksbZ egRo ughaA mnkgj.k ds fy,

njckjh dk ,d izfl) [k+;ky gS&

^^gt+jr rqdZeku tw ds cy cy tS;s**

vkfnA

bldk izpfyr :i bl izdkj gS&

^^gtjr rksjs deku tw** vkfnA

laHkor% gt+jr rqdZeku us vius thou

esa dHkh deku ij rhj ugha pyk;k gksxk

fdarq ;gka mudk uke gh fcxkM+ dj vFkZ

dk vuFkZ dj fn;k x;k gSA blh izdkj

cgkj dk izfl) nzqr [k+;ky gS& ^dfy;u

lax djrk jaxjfy;ka**A bldk varjk gS&

^^ygj ygj ygjkr lc fcjNu ekSjhys]

ukj xMqok Hkju vkbZA** fdUrq ;g

fcxM+dj gks x;k gS& ^ygj ygj ygjkr

lc fcjgu eksjh js ukj**A13 ,sls vusd

mnkgj.k miyC/k gSaA rjkus esa iz;qDr

fujFkZd 'kCnksa dk vkxzg gks rks dksbZ

vkifÙk ugha] fdUrq ;fn dfork dk

mi;ksx djuk gks rks mldh 'kq)rk vkSj

lkFkZdrk ij /;ku nsuk vko';d gSA

;g dgkor t:j gS fd ^Music is the language of soul. There is no language barrier', ijarq bldk vFkZ

;g fcYdqy Hkh ugha fd 'kCnksa dk

mPpkj.k Bhd rjg ls ugha djukA gk¡]

;g ckr Hkh fcYdqy lgh gS fd ;fn

Jksrkx.k fons'kh gS] vkSj dykdkj ftl

Hkk"kk esa cafn'k xk jgk gS mlls og

vKkr gS] rks Hkh mlds eu ij vPNk

vlj gks ldrk gS D;ksafd Lo;a jkx esa

fof'k"V Lojkofy;k¡ vkrh gSa ftlls

HkkoizxVhdj.k lqyHk gksrk gSA ysfdu ;g

ckr dykdkj dh [kqn dh {kerk ij

fuHkZj djrh gSA ^tc dykdkj ds 'kCn

vkSj Hkk"kk le>us dh {kerk Jksrkx.k ds

ikl uk gks vkSj fQj Hkh Jksrkx.k ds

eu ij vPNk vlj iSnk gksrk gks rc

^xkujl* dh egfr /;ku esa vkrh gSA*14

dnkfpr~ ;gk¡ ;g dguk mfpr gksxk fd

ftl izdkj Loj dk viuk ,d LoHkko

gS mlh izdkj jkx dk Hkh viuk ,d

Hkko gSA jl vFkok jkx dk vlj] ;g

vewrZ gSA

ekSn~xY; th viuh iqLrd ^xhr eatjh*

esa fy[krs gSa fd ^izkphu xazFkksa esa

vyx&vyx jkxksa ds jl crk, x, gSaA



43

os jkx:i vkt izpfyr u gksus ds dkj.k

bl lEcU/k esa dqN Hkh dguk laHko ughaA

vktdy rks ,d gh jkx esa vusd jlksa

dh cfUn'ksa izk;% feyrh gSaA dHkh&dHkh

mlh jkx ds foyfEcr [k+;ky esa ,d jl

rFkk nqzr [k+;ky esa loZFkk foijhr Hkko

dh cfUn'k Hkh xk;h tkrh gSA*15 mnkgj.k

ds fy, yfyr jkx esa izfl) foyafcr

[k+;ky ds 'kCn bl izdkj gS&

LFkkbZ&jSu dk liuk jh eSa dkls dgww¡ jh

varjk&lksor&lksor vk¡[k [kqyh tc]

dksÅ u ik;ks viukA16

bl cfUn'k esa oSjkX; Hkko dh iz/kkurk

gSA bldks ge ^HkfDr jl* ds varxZr

eku ldrs gSaA blh jkx dk nzqr [k+;ky

bl izdkj gS&

^^rjir gw¡ tSls ty fcu ehu]

dgka lS;ka ge rqejks dhuA**

izLrqr cfUn'k esa izs;lh dh O;kdqyrk dk

o.kZu gSA ;g ^Jaxkj jl* ds fo;ksx i{k

dks n'kkZ jgh gSA

blh izdkj ia- fouk;djko iVo/kZu th

us Hkh ,d gh jkx esa nks vyx&vyx

jlksa dh cafn'kksa dks viuh iqLrd ^jkx

foKku* ds fofHkUu Hkkxksa esa LFkku fn;k

gSA mnkgj.kkFkZ& uhps nh xbZ jkx

Hkheiyklh dh foyfEcr ,drky dh

cfUn'k esa jc ¼Hkxoku½ dh ckr dh xbZ

gS%&

^vc rks cM+h csj HkbZ Vsjr gkSa rqedks

esjs jc lkbZ;kaA

Hkaoj tky esa vku Qals Hkolkxj rs ikj

djks esjs lkbZ;kaA17

blh ds foijhr jkx Hkheiyklh dh gh

e/;y; rhurky esa Jaxkj jl dks

ifjiksf"kr djrh gqbZ ,d lqizfl) cfUn'k

bl izdkj gS&

^xksjs eq[k lksa eksjs eu Hkkos yqdNqi

njlu vrgh lqgkosA

u;u e`x le panzeq[kh cnu dey vr

lnkjax eu NkaMosAA18

vius xq:o;Z ds in~fpUgksa ij pyrs gq,

fou;pUnz ekSn~xY; th us Hkh dqN cfUn'ksa

Lo;a jph ftuesa ,d gh jkx esa vusd

izdkj ds 'kCnksa dk iz;ksx dj fHkUu&fHkUu

Hkko izxV gksrs ls yxrs gSaA mnkgj.k

Lo:i&jkx iVnhi] rhurky esa jph

mudh cfUn'k&

LFkk;h& ean ean Mksys ey;kfuy]

lqe ifjey dk e`nqy Hkkj ysAA

varjk& dj vB[ksyh uo dfy;u lksa]

cu cu fcpjs fNu&fNu iy iyAA19

izLrqr cfUn'k esa izd`fr dk o.kZu gS tks

jkx iVnhi esa de lquus dks feyrk gSA

ekSn~xY; th }kjk jfpr blh jkx esa

>irky dh ,d cfUn'k gesa izkIr gksrh

gS ftlesa gfj ¼bZ'oj½ ls lEcfU/kr 'kCn

feyrs gSa&

LFkk;h& lqj rky dks Hksn tku u ik;ksA

gfj ds Hktu esa euok yxk;ksAA

varjk& eeZ Hktugw dks leqf> ijSukA

uSuu tyHkj gfjuke xk;ksAA20



44

ekSn~xY; th ds vuqlkj] ^^dkSu lk jkx

fdl Hkkouk ds vuqdwy gS] bl lEcU/k

esa esjk er O;fDr fu"B gSA lHkh ds eu

ij mu fof'k"V jkxksa dk ,d gh izHkko

vafdr gks ,slk esjk fcYdqy nkok ugha

gSA**21 bu lHkh ckrksa dks n`f"V esa j[kdj

;g dguk fd veqd jkx veqd jl ;k

Hkko dk gh gS] ,slk ca/ku laHko rFkk

mfpr ugha izrhr gksrkA ijarq ;g vo';

dgk tk ldrk gS fd veqd jkx veqd

jl ;k Hkkouk ds fy, fo'ks"k :i ls

vuqdwy gSA

jkx foKku iqLrd esa fyf[kr gS&

^loZlk/kkj.kr;k 'kq) Lojksa ls 'kq)

Hkkouk O;Dr gksrh gS vkSj fod`r Lojksa

ls fo'ks"k Hkkouk O;Dr gksrh gSA 'kq)

vkSj fod`r nksuksa dk feyki vyx&vyx

Hkko O;Dr djrs gSaA bldk eryc fo'ks"k

Lojkofy;k¡ fo'ks"k Hkko O;Dr djkus gsrq

lQy ekywe iM+rh gSa ftl dh [kkst

dykdkj Lo;a fopkj ls dj ldrs gSaA

ftldh tSlh {kerk oSlh mldh

lkSan;Zn`f"VA*22 blds vfrfjDr

^Lojlaokn jlksRifÙk ds fy, cgqr gh

mi;qDr gSA fcgkx tSls jkxksa esa lk&i

Hkko Jaxkj jl dks vfHkO;Dr djus ds

fy, cM+k gh mi;qDr fl) gksrk gSA

lk&e Hkko mnkÙk xaHkhj jl dk

vkfo"dkj djkus gqr mi;qDr fl) gksrk

gS tSls ckxsJh] ekydal vkfn jkxksa esaA

lkjka'k&Lojkofy;ksa 'kq)] dksey] rhoz

Lojksa] oknh laoknh dk fopkj djsa rks

lkekU;r% fu"ifÙk ds fu"d"kZ bl rjg

ls feyrs gSa& lk;adkyh; laf/kizdk'k jkx

fojgkJaxkj&iwfj;k/kukJh] iwohZ] xkSjh ds

izdkj] yfyr vkfnA js /k dksey] e rhoz

;k nksuksa e/;e eu dh mnklh] cspSuh]

vLoLFkrk O;Dr djkus gsrq mi;qDrA

fcgkx o t;t;oarh ls T+;knkrj Ja`xkj

vkSj lkFk esa foizyaHkJa`xkjA Jh jkx ls

oSjkX;] gehj] 'kadjk ls ohj] dY;k.k esa

vkuan o Jaxkj] dksey _"kHk vklkokjh

esa nq%[k] tksxh ¼tksfx;k½ esa rhoz nq%[k]

eYgkj izdkjksa esa o"kkZ _rq dk vkxeu

lwfpr djkus okyh Lojkofy;k¡ vkfnA ;s

lkjs fu"d"kZ Law of Association ¼ykW

vkWQ vlksfl,'ku½ ftls cksyrs gSa mlds

vk/kkj ij voyafcr gSA*23

vr% mijksDr fo"k; ij ppkZ djus ds

i'pkr~ ;g ekywe iM+rk gS fd y; vkSj

rky ;g fj'rk tSlk gS] oSlk gh jkx

vkSj jl dk fj'rk gSA

fouk;djko th }kjk jfpr jkx

xkSM+eYgkj dh f=rky esa c) NksVs [k+;ky

dh cfUn'k ls ;g Li"V gks tk,xk fd

mUgksaus viuh leLr cfUn'kksa esa

Loj&in&rky dk leUo; fdruh Hkyh

Hkafr fd;k gS&

LFkkbZ& >qdh vkbZ cnfj;k lkou dh

lkou dh eu Hkkou dhA

varjk& lkou esa mexs tkscuok

NkaM pys ijnsl fi;jok

lq/kh u jgh ?kj vkou dhA24

mijksDr cfUn'k dh Loj jpuk jkx ds

pyu ds vuqdwy gS ftlesa eqDr ^e/;e*

dk iz;ksx eYgkj lwpd ekuk x;k gSA

ekSleh jkx gksus ds ukrs blesa cM+h gh

lqUnjrk ls o"kkZ _rq ls lEcf/kr 'kCnksa

dk p;u fd;k x;k gSA lkou ds eghus



45

esa cknyksa dk >qduk] meM+uk] ?kqeM+uk

fdl izdkj eu dks fiz; yxrk gS] ;g

crk;k x;k gSA ftl izdkj Jko.k dk

eghuk o"kkZ _rq dk ;kSoudky ekuk

tkrk gS] D;ksafd bl eghus esa ckny vkSj

ckfj'k viuh ijkdk"Bk ij gksrs gSa] mlh

izdkj ukf;dk ds ;kSou dh meax viuh

ifjdk"Bk ij gS] ,slk bl cfUn'k esa

crk;k x;k gSA

;ksX; f'k"; dh Hkkafr fou;pUnz ekSn~xY;

th us Hkh cgqr lh cfUn'ksa jph tks jkx

dh pyu] mlesa vuqHko fd, tkus okys

Hkko] Hkkoksa ds vuqdwy Hkk"kk o 'kCnksa dk

p;u] Nan] y;] rky vkfn lHkh rRoksa

ds vuqdwy gSaA mUgha ds }kjk jfpr jkx

nsl dh rhurky c) jpuk fuEu izdkj

ls gS%&

LFkkbZ& py dksfdyk e/kqekl vk;kA

vacok dh Mkjh ij ckSj Nk;kAA

varjk& dy dwd ls olq/kk xaqtk nsA

Loj ek/kqjh tx dks fiyk nsAA25

ekSn~xY; th dh izLrqr cfUn'k esa jkx

nsl esa izkd`frd lkSan;Z dk o.kZu gSA

vejkb;ksa esa ckSj Nk x, gSa vkSj dks;y

dh dwd ls okrkoj.k xqatk;eku gSA

[;ky dh cfUn'kksa ds vfrfjDr fou;pUnz

ekSn~xY; th us ia- iVo/kZu th dh izsj.kk

ls mUgha ds leku 'kkL=h; laxhr dh

vU; fo/kkvksa tSls&/kqzin] /kekj] rjkuk

vkfn dh jpuk dhA fofHkUu jkxksa esa

cfUn'kksa dh jpuk ds fy, ia- fouk;djko

iVo/kZu th ls u dsoy mUgsa izsj.kk feyh

cfYd jkx&foKku esa mUgsa izdkf'kr dj

iafM+r fouk;djko th us ekSn~xY; th dks

fo'ks"k :i ls izksRlkfgr fd;kA iafMr th

dh mnkjrk dk blls vPNk ,oa Li"V

izek.k ugha gks ldrkA fou;pUnz ekSn~xY;

th tSls gh ia- ukjk;.kjko O;kl] ia-

Mh-oh- iyqLdj bR;kfn vusd ;ksX;

f'k";ksa dh Js.kh rS;kj dj ia- fouk;djko

iVo/kZu th 23 vxLr lu~ 1975 bZ-

d¨ czã esa yhu gks x,A ,slh egku

foHkwfr dks 'kkL=h; laxhr ds izpkj&izlkj

esa ;ksxnku gsrq cgqr ls egÙoiw.kZ

vyadkjksa ls foHkwf"kr fd;k x;kA lu~

1972 bZ- esa Hkkjr ljdkj }kjk

^in~eHkw"k.k* dh mikf/k ls iaafMr th dks

lEekfur fd;k x;kA laxhr txr mudh

dyk ,oa muds vikj Kku dh vkt Hkh

ljkguk djrk gSA

lUnHkZ

1 ukjk;.k HkDr] gekjs laxhrdkj&urZd] xk;d ,oa oknd] i-` 69

2 y{ehukjk.k xxZ] gekjs laxhr jRu] i`- 388

3 izks- gfj'pUnz JhokLro] gekjs fiz; laxhrK] i`- 75

4 y{ehukjk;.k xxZ] gekjs laxhr jRu] i`- 389

5 /keZiky] ia- fou;pUnz ekSn~xY;&O;fDrRo ,oa d`frRo] i`- 9

6 ogh] i`- 11



46

7 ogh

8 fou;pUnz ekSn~xY;] xhr eatjh] i`- 9

9 ia- fouk;djko iVo/kZu ,oa MkW- e/kqlwnu iVo/kZu] jkx foKku ¼izFke Hkkx½] X;kjgoka laLdj.k] i`- 28




13 fou;pUnz ekSn~xY;] xhr eatjh] i`- 11&12



16 ia- fo".kq ukjk;.k Hkkr[kaMs] Øfed iqLrd ekfydk] Hkkx&4] i`- 516


18 ogh] i`- 153

19 fou;pUnz ekSn~xY;] xhreatjh] i`- 58

20 ogha] i`- 56



23 ogha] i`- 23&24

24 ia- fouk;djko iVo/kZu] jkx foKku] Hkkx rhu] i`- 33




47

IMPRESSION OF RARE RAGAS IN INDIAN FILM MUSIC Priyadarshini.R

University of Mysore

Music is an integral part of Indian films and is associated in all phases on cinematic development. Commercial Indian films are melodramatic with different characters, exaggerated emotions, feelings and sentiments. Classical Ragas have been playing a major role in Indian films in its ability to invoke emotions. Indian film music from the early days has been having a heavy influence of Classical Music and its ragas in its creation. Raga is the melodic amalgamation of musical notes and the character of a Raga is defined by Rasa, or it's kind of emotion. Rasa encloses an extensive gamut of emotional expressions with specific notes assigned for its interpretation. The usage of ragas in Indian cinema have been metamorphosing with films and Directors.

There are many fascinating aspects to discover how Music Directors have used ragas in their musical compositions to evoke the desired mood of the film situation and embellish it aesthetically. They have blended the ragas with musical concepts from other parts of the

world like harmony, chords etc. and created absolute magic out of it. Large orchestras diffusing Indian musical instruments like sitar, veena, sarod, tabla, mridangam etc., along with instruments from the West like the guitar, accordion, violins, saxophones, drums etc. This article brings to light how the use of rare ragas in Indian Film Music has created immense appeal and how genius Directors have used ragas according to the suitable theme required for the movies. Paavani Raga belongs to the 41st Melakarta Raga of the Carnatic Raga classification system. The Song ‘Partha vizhi paarthabadi’ from Tamil movie ‘Guna’ composed by Music Director Illayaraja, sung by KJ Yesudas shows strong usage of this raga. Not many film songs are available in this raga. The situation showcases Actor Kamalhassan portraying the role of psychiatric patient, sees the heroine at a temple and instantly falls in love with her. The opening Chorus vocals ‘charanam charanam' is set around the notes Shadja, Shuddha Rishabha and


48

Shuddha Gandhara which sends a thrill in your perceptual apparatus. The clear phrase of ‘Paartha vizhi Paarthapadi’ beginning with swaras ‘P,PMGRS’ in the pallavi establishes the raga effectively, exhibiting beauty of vivaadhi swaras in the raga. It further moves on to ‘oon uruga uyir uruga’ PPP PSNDP phrase which further gives firm presence of the raga. Legendary Music Director MS Viswanathan has handled a rare raga Mahathi in his film ‘Aboorva Raagangal’. It is said that he desired to use a rare raga for his song as the film title’s meaning demanded ‘Rare Ragas’. He composed the famous song ‘Adhisaya Ragam’ in Rag Mahathi sung by KJ Yesudas. The veena interludes right before the first charanam is pleasing and carries the phrase ‘GPNS GSGSNP, GPNS SGSGS’ which is crucial in identifying this raga. This raga discovered by Musical Genius Dr M Balamuralikrishna has just four notes Shadjam, Antara Gandharam, Panchamam and Kaisiki Nishadam in it.

Raga Rishabhapriya, 62nd Melakarta raga, rare not often handled in Carnatic music has

been effectively used for various moods in Films. A beautiful melody ‘Aacharavillada nalige’ from Kannada Movie ‘Upasane’ by Music Director VijayBhaskar tuned to the meaningful lyrics of Saint Purandara Dasa, Sung by S Janaki uses this raga purely and effectively. This song matches the situation of a person criticising the heroine, and she moves on to convey moral values through this song. The opening Veena piece stands out and ‘Acharavillada naalige ninna neecha buddhiya bidu nalige’ ‘S,NDPPPPPDMP PPD’ with characteristic gamaka at Dhaivatha ‘PDN NND PMG GRSSRRG’ clearly establishes the raga.

In Tamil movie ‘Mandira Punnagai’ Composed and Sung by Illayaraja, the song ‘Kaali Perungaya Dappa Adhula Vasana bhalamathan irukku’’ ‘RGGRGGR,S SSS PDNDNDND PPP’, the phrase ‘Ada Vazhkai Enbadhum dhegam Enbadhum Onnum illa’ ‘S PPPP MMMM GGGG RGSR’ this raga is established evidently. This song illustrates the usage of exotic scales efficaciously to make film music different and interesting. This song involves situation of Hero as a booze enthusiast

IMPRESSION OF RARE RAGAS IN INDIAN FILM MUSIC


49

showing distress in life. Another beautiful melody of Purandara Dasa’s Lyrics ‘Aacharavillada nalige’ from Kannada Movie ‘Upasane’ by Music Director VijayaBhaskar, Sung by S Janaki uses this raga purely and effectively.

Hindustani Classical raga Tilak Kamod derived from Khamaj Thaat having oblique movements, Sa and Pa as strong notes, Ga and Dha omitted in ascent has played important role in Indian Film Music. One of the latest song ‘Aaoge Jab Tum O Sajana Angna Phool kilenge’ from Hindi movie ‘Jab We Met’ composed by Sandesh Sandilya, Sung by Ustad Rashid Khan incorporates the usage of ‘SPNNSS SS GSSN MMMGR RGSN SS’ the important phrases of the raga with swara patterns ‘PNSRMMG GGSN NRGRND NRN MDND’ which shows the deft handling of this raga. Other songs in this raga, ‘Teri Yaad Dil Se Bhulane’ from Hariyali Rasta by Music Directors Shankar - Jaikishan, Humne Tujhko Pyar Kiya Hai from Dulha Dulhan by Music Directors Kalyanji-Anandji shows how effectively this raga is used in Indian Film Music.

This raga has made its way into South Indian Film Music too. The Tamil Song ‘Mouname parvayaal’ brings the subtle impression of Tilak Kamod. The opening sitar and strings brings a beautiful melody of the raga with phrase ‘Mouname parvayaal oru paatu padavendum Naaname jadaiyaal oru vaarthai pesavendum’ ‘GRPMG RGRS NS RRRR SNPNS GRSS SSNSRS NRSS’ and drifting to the last line of the charana ‘yennai alli choodi konduvidavendum’ ‘SN PP NSGR SSSS’ which shows the raga been used with great precision. Bilaskhani Todi, a Hindustani Raga with Madhyam and Nishad Varj in Aaroh, Pancham Varj in Avroh, Komal Rishabh, Gandhar, Dhaivat and Nishad and rest being all Shuddha Swaras has made its entry into the South Indian Film music. Many hit songs by Music Director MS Viswanathan were based on this Raga. The first song he composed in this raga was from the blockbuster hit movie ‘Nichaya Thamboolam’, song ‘Padaithaney Padaithaney’ ‘SRGG GRSR GRSR NSNDNS’ making notice the innate bhava of this raga. The haunting song



50

‘Thereyedhu’ from the movie ‘Paasam’, a philosophical film song ‘Satti Suttadhadaa Kai Vittadhadaa’ from the hit film, ‘Alayamani’ with Sivaji Ganesan are few other striking examples.

Srothaswini raga has been expounded well in ‘Poojaiketha Poovithu nethu thane poothathu’ from Tamil Movie ‘Needhana Andha Kuyil’. It opens with a beautiful flute piece, goes on to ‘Poojaiketha Poovidhu Nethu thaane poothathu’ ‘SGMPMGSN’, with the Srothaswini raga signature following ‘Ada Poothadhu yaar adha paarthadhu’ ‘NNN,SS GGG NSS’ clearly establishing this raga. Another example would be ‘Sindhiya Venmani’ from Tamil movie ‘Poonthota kavalkaran’ by Music Director Illayaraja, Sung by KJ Yesudas. Other songs in raga Srothaswini include ‘O Vasantha Raja’ by Music Director Illayaraja, Telugu song ‘Suman Prathi’ from Movie ‘Maharshi’,’Jai Chirangeeva’ from ‘Jagadeka Veerudu Atiloka Sundari’ ‘Inka Inka’ from ‘Sundarakanda’ are also set to this raga. Srothaswini is handled very beautifully in the Pallavi of very popular song ‘Raa Raa’ by Music Director Vidhyasagar from Blockbuster

hit movie ‘Chandramukhi’. The phrase ‘Praaname Needhira Yeluko Raadharaa Shwasalo Shwaasavai Raa Raa’ ‘MPPMP MPMMG MPPMP MPSNP GPM SMG GSSN’ clearly defines the usage of this raga in it.

Raga Malgunji is a rare Hindustani classical raga which portrays many emotions including pure love, the desperate wait and also sad moments. The song ‘Ghar Aaja Ghir Aaye’ is brilliant composition in this raga from RD Burman’s first movie as a Music Director. There is a inherent tinge of sadness in Raga Malgunji that comes through beautifully in this song ‘Jeevan ke Bhari’ from the movie ‘Safar’ composed by Kalyanji Anandji. Everything about this song seems to be perfect including intro sitar piece,the end piece,interludes, soft rhythm and emotional singing by Kishore Kumar. The opening phrase ‘RG1MG1RSS SG1RN1DS DNSG2MD DNSNDD G2MPG1RR’ uses both Shuddh and Komal Gandhars. This raga’s complete treat is given by Music Director MS Viswanathan in the Film ‘Ramu’, Song ‘Nilave ennidam nerungade’ in which pain is inherent, right from the pallavi



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‘DNSMMMG GMGRGRS SSRGR SRND DNSS’ a best example of raag Malgunji. The entire tune, the interludes are studded with typical phrases of the raaga. The heart-wrenching song which captures the thoughts of a girl’s ex-lover ‘Unko yeh shikayat hai’ from Hindi Movie ‘Adalat’ by Music Director Madan Mohan is also a good example of this raga based film song. This raga is musically depicted in song ‘Naa Jiya Lage Naa’ from Blockbuster movie ‘Anand’ Music by Salil Choudary, sung by Lata Mangeshkar brings out the feeling of a woman’s despair to meet her lover after long time, the hunger of love.

Raga Behag, though a common raga in Hindustani Classical Music is used rarely in Indian Film Music. It has Shadj, Shudh Rishab, Shuddha Gandhar, both Shuddh & Teevra Madyams, Pancham, Shuddh Dhaivat and Nishadh swaras. ‘Yen Praana Nayakane’ from the Malayalam film Pareeksha, is a romantic, racy song in Behag that touches the right chords and lingers back in your heart and the bhakti laden Malayalam song ‘Naava Mukunda Hare,’ from the film Desadanam makes one experience the divine feel of the raga. The song from Malayalam

Movie ‘Oru Kadha Oru Nunukkadha’ ‘Ariyaathe ariyaathe’ ‘PMGMG PGSN’ by Music Director Johnson are few examples of Behag used in films that simply melts one’s heart.

‘Thiruvaai mozhi azhaga’ from Tamil Movie ‘Naan Than Bala’ by Music Director Venkat Krishi, sung by Author Priyadarshini herself, is another example how this raga can be used to evoke devotion and tranquility. The phrase ‘Thiruvaai mozhi azhaga senkamala vizhi azhaga varuvaai valai osai varavendum vaasalukke’ ‘PMPGMGMG PMPP PPGMGRS SSG GMRS SSGM PGMG’ establishes the impression of Behag. ‘Endhan uyir kaadhalan’ from Tamil movie ‘Iravum Pagalum’ is another good example of Film Song based in raga Behag. The Kannada film ‘Sanadi Appanna’ created a landmark in the history of Kannada cinema. Legendary Music Director G.K. Venkatesh’s highly captivating song ‘Karedaru kelade’, sung by S Janaki is based on Behag. The Shehnai Bit is played by Ustad Bismillah Khan who flew down to Chennai all the way from Varanasi to play for this



52

song. The phrase ‘NSNP GMG RGRSN SG SGM MDM MDM MDNS’ makes the raga stamp evident. There is long, enchanting interludes played by the Ustad for which Legendary Actor Dr.Rajkumar who portrays the character of Shehnai player in the song, mastered the shehnai-wielding technique from the Ustad himself to understand the method of holding the instrument in the film. Another Kannada Film Song ‘Shruthi Seride’ from 'Shruthi Seridaga' is also Behag based Film Song. Telugu song ‘Varamosage Vanamaali’ from movie, ’Bhakta Prahlada’ composed by Saluri Rajeshwara Rao, sung by Dr M Balamuralikrishna is also a striking melody in this raga. Melodious Songs in Behag which has ability to portray the depth of sublime emotion include ‘Tere Pyar Mein Dildar’ from Hindi Movie ‘Mere Mehboob’ by Music Director Naushad, Sung by Lata

Mangeshkar, ‘Tere Sur Aur Mere Geet’ in ‘Goonj Uthi Shehnai’ by Music Director Vasant Desai in which the shehnai is played by none other than the great Ustad Bismillah Khan saheb. Music Director Shankar Jaikishan’s ‘Tujhe Jeevan ki door se band liya hai’ ‘SS SGM PP NN NDNSNDP’ from ‘Asli Naqli’ and ‘Zindagi Ke Safar’ from ‘Aap Ki Kasam’, by Music Director R D Burman are few Behag based film songs. Music in Indian films has been changing incessantly, Directors adopting new styles and displaying it in their own style keeps music alive amongst the audience. Right from the beginning of the Film Industry Music Directors have continued to innovate, by combining elements of ragas with fast-paced rhythm and lyrics that appeal to the masses. These rare ragas have added a new flavour to its situation or scene in the movie.

Bibliography

1. Raga Chinthamani - Sudarraman 2. A Raga’s Journey - The Hindu - Various Editions 3. Nuances of Hindustani Classical Music - Hema Hirlekar 4. Thirai Isai, Tamizh Isai, Carnatic Sangeetham - T R

Kallabiraan 5. Ragas in Carnatic Music - S. Bhagyalekshmy



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lwQh dfo cqYys”kkg th dh jpukvksa esa b” +d dk Lo:i

deyizhr dkSj

'kks/kkFkhZ] laxhr ,oa yfyr dyk ladk; fnYyh fo'ofo|ky;] fnYyh

^b'+d+* vjch “kCn ^vkf”kdg* esa ls

fudyk gS ftls Q+kjlh esa ^b”d+ ispk*

rFkk vjch esa ^fycykc* dgrs gSaA b”d

dks lwfQ+;ksa dh blfrykg esa

^tehvr&,s&dekykr* dgrs gSa tks ,d

t+kr esa gksrs gSa rFkk ;g t+kr ijekRek

ds fcuk ugha gksrh gSA vaxszth esa bldk

lekurj “kCn yo ¼Love½ gSs] iatkch esa

izhr] I;kj] eqgCcr] izse vkfn “kCn blds

lekukFkZd gSaaA lwQ+h esa tks ijekRek ls

viuh fdlh Hkwy ds dkj.k fcNM+ tkrk

gS rFkk nqckjk ijekRek ls feyus ds fy,

rM+irk gS lwQh blh izkfIr dks vius

thou dk vafre y{; ekurs gSaA

lwQ+h&lk/kuk esa izse dk fo”ks’k LFkku gSA

izse gh lwQ+h dk dsUnz fcUnq gSA lwQ+her

dk lkjk <k¡pk izse ds Åij gh vk/kkfjr

gSA izse ds }kjk gh ijekRek ds jgL;ksa dk

Hksn vFkok mlds Kku dh izkfIr gks ldrh

gSA b”d dks lkjs jksxkssa dks nwj djus dk

gdhe ekuk x;k gSA ijekRek ls fd;k tkus

okyk isze lkalkfjd izse ls vyx gksrk gSA

bl isze ds }kjk gh ijekRek dks nss[kk tk

ldrk gS vlyh ^dkck* rks euq’; dss eu

esa gh gSA lwQ+h lk/kd ds vuqlkj isze fny

esa ,d vfXu ds leku gS tks ijekRek dh

bPNk ds fcuk gh lc oLrqvksa dks tyk

dj jk[k dj nsrk gSA isze dk vFkZ gS fd

fiz; ijekRek ds xq.k iszeh ds vanj vk

tkrs gSa ftlls mlds vius xq.k yqIr gks

tkrs gSa rFkk izseh dk vgadkj nwj gks tkrk

gS rFkk iszeh [kqn gh fiz;re cu tkrk gSA

lwfQ+;ksa ds vuqlkj vius vki dks ijekRek

ds vkxs lefiZr dj nsuk gh lPpk isze

gSA bl deZ dks dksbZ O;fDr ugha dj

ldrk] dsoy lwQ+h lk/kd gh ,slk dj

ldrk gSA lwQ+h lk/kdks dk b’V isze djus

;ksX;] izkIr djus ;ksX;] ltho ;k

O;fDrxr gkssrk gSA ijekRek dh vR;ar

lqanjrk vius vki gh lk/kd dks viuh

rjQ ea=eqX/k vFkkZr~ vkdf’kZr dj y srh

gSA

lwfQ+;ksa dk fo”okl gS fd izHkq gh isze gS

rFkk vius vkuan dh izkfIr ds fy, og

gj euq’; ds fny esa clk gqvk gSA

d-b”+d dk vuqHko

cqYys”kkg dh jpukvksa esa ijekRek ds jgL;

dks tkuus ds fy, dsoy lwQ+her ds

fl)kar ls gh tkudkjh ugha feyrhs cfYd


54

muds [kqn ds thou ds vuqHko dk jgL;

ds :i esa tkudkjh feyrh gSA lwQ+h lk/kdkas

dh rjg gh cqYys”kkg ds thou dk euksjFk

Hkh ijekRek ds lkFk ,d gksuk gS tc og

ijekRek ds lkFk ls vyx gksrs gSa rc og

vyx] tho igpku izkIr dj ysrs gSa ij

mudk thou nq[k dh voLFkk esa f?kj tkrk

gSA bl voLFkk ls fudy dj og ijekRek

ds lkFk feyus ds fy, nksckjk iz;Ru djrs

gSa ijekRek ds lkFk gksus okys b”d ds ckjs

esa og bl izdkj fy[krs gSa%

uh eSuw¡ yxM+k b'+d voy nk]

voy nk jkst+ vt+y nkA

lwfQ+;ksa ds vuqlkj lc dqN ijekRek gh

gSaA gj euq’; ds ân; esa og clk gqvk

gSA ijekRek dks ckgj <w¡<us dh ctk,

vius vanj gh <w¡<uk pkfg, D;ksafd

ijekRek gj txg fuokl djrk gSA

ijekRek us gh balku dh lajpuk dh gS

rFkk mlds fny dh lc dkeukvksa dk bYe

vFkkZr~ Kku jgrk gSA euq’; dh ftUnxh

nq[kksa okyh voLFkk ls blfy, xqt+jrh gS

D;ksafd og ijekRek dk jgL; ckgjh nqfu;k

ls <w¡<rk gS blfy, euq’; b/kj&m/kj

HkVdrk jgrk gS blfy, ;g ;k=k

ckgjheq[kh uk gksdj varZeq[kh gksuh pkfg,A

jgL;okn euq’; vkRek dh vanj dh izo`fr

dk izdk”k gS ;fn ijekRek ds Lo:i dks

vius vanj gh <w¡<k tk, rks ijekRek ls

feyu dh izkfIr vklku gks tk, rFkk ;g

izkfIr dsoy ijekRek ls fd, x, izse }kjk

gh laHko gks ldrh gSA cqYys”kkg b”+d dks

^vYykg dh tkr* dgrs gaS%

tc euq’; eksg ek;k esa bruk Qal tkrk

gS fd og vYykg dh tkr dks igpku gh

ugha ikrk rc og fy[krs gaSS%

cqYyk dh tk.ks tkr b”+d nh dkS.k \

tc euq’; dks bl ckr dk ,glkl vFkkZr~

le> vkrh gS fd mlus viuk bruk le;

O;FkZ gh [kks fn;k rc mldh ryk”k

ckgjeq[kh u gksdj varZeq[kh gks tkrh gS

rFkk mls vius HkVdus dk ,glkl gks

tkrk gSA euq’; dks le> vius HkVdus

ds ,glkl ls gh vkrh gSA cqYys”kkg th

dgrs gSa%

ghj jka>.k ns gks x, esys]

Hkwyh ghj <w¡Msanh csys]

jka>.k ;kj cxy fop [ksys]

eSuw¡ lq)&cq) jgh uk lkj]

b'+d nh uohavks uoha cgkjA

ijekRek ds feyu ds fy, cqYys”kkg bYe

vFkkZr~ Kku dks b”d ls Hkh ihNs ekurs gS

fdrkcksa ds Kku dh jks'kuh ls euq"; ds

ân; eas jks”kuh u gksdj va/ksjk gh gksrk

gSA ftlls euq’; esa vgadkj vk tkrk gS

rFkk vgadkj dks ekjus ls gh ijekRek dh

lwQh dfo cqYys”kkg th dh jpukvks a esa b”+d dk Lo:i


55

izkfIr gksrh gS rFkk b”d ds jkLrs ij py

dj gh ijekRek ls feyu laHko gSA

cqYys”kkg dk fopkj gS%

bYeksa cl djha vks ;kj]

--- --- --- --- --- --- --- ---

i<+&i<+ bYe yxkos <sjA

dqjku fdrkcka pkj pqQ+asjA

fxjns pku.k foPp vusj]

ck>ksa jkgcj [kc+j uk lkjA1

[k- b'+d gdhdh

lPpk I;kj] rFkk ijekRek rd igq¡pus dk

jkLrk b”d gdhdh gSA ijekRek dks fiz;re

tkuuk rFkk mlds lkFk I;kj djuk gh

b”+d gSA ijekRek ds }kjk iSnk dh xbZ

nqfu;k ls I;kj djuk gh izHkq&I;kj gSA

balkfu;r dk I;kj gh vius gh fiz;re

vFkkZr~ ijekRek rd igq¡pus dk jkLrk gS

rFkk bl xgjs jgL; ds Hksn dkss cqYys”kkg

th uss vius eqf”kZn “kkg buk;r ls izkIr

fd;kA muds eqf”kZn ,d [ksr esa I;kt+ dh

iuhjh yxk jgs gksrs ga S rFkk cqYys”kkg tc

muds ikl igq¡prs gSa rks og muls iwNrs

gSa fd ijekRek dks dSls izkIr fd;k tk

ldrk gS rc mudh dgh xbZ ckr gh

cqYys”kkg ds thou dks gdhdr vFkkZr~ lR;

dk jkLrk fn[kkrh gSaA bl ij cqYys”kkg th

fy[krs gSa%

cqfYy;k jc cu dh ikÅ.kk]

b/kjksa iqV.kk rs m/kj ykÅ.kkA

nqfu;k ds eksg ek;k ls nwj gksdj gh

ijekRek dh rjQ eu yxkuk gh bl

lPpkbZ dk ewy gS ij ;g jkLrk bruk

vklku ugha gksrk ejus ls igys [kqn dks

ekjuk iM+rk gS b”d+ igys cgqr vklku

yxrk gS ij ckn esa cgqr lh dfBukbZ;k¡¡

vk tkrh gSaA b”+d ds dfBu jkLrs dks

eqf”kZn gh ikj djk ldrs gSaA cqYys”kkg ds

dyke esa eqf”kZn dk fo”ks’k egRo gS b”d

ds jkLrs ij pyuk eqf”kZn fl[kk rks nsrs

gSaA ij cqYys”kkg eqf”kZn ds fcuk bl jkLrs

ij pyus ds fy, vleFkZ gSaA eqf”kZn ds

fcNM+us ij bl izdkj dgrs gSa%

cgqM+h os rchck eSaM+h ftUn xbZvkA

rsjs b'+d upk;k dj FkbZ;k FkbZ;kA

b'+d Msjk esjs vanj dhrk]

Hkj ds tgj I;ky eSa ihrk]

>cns vkoha os rchck ughrs eSa ej

xbZvkA

cqYys”kkg ds b”d dk bZykt dsoy eqf”kZn

gh dj ldrk gSA rFkk bl thokRek dks

ijekRek rd dsoy eqf”kZn gh igq¡pk ldrk

gSA og bl izdkj dgrs gS%

eSa dehuh] dqpTth] dksg>h csxq.k dkS.k

fopkjhA

cqYyk 'kksg ns yk;d ukgh 'kkg buk;r

rkjhAA

lwQh dfo cqYys”kkg th dh jpukvksa esa b”+d dk Lo:i


56

x-'+kjk o b'd+

cqYys”kkg dh jpukvksa esa ijekRek

ls feyus ds fy, 'k+jk ds izfr mldh

Lo;a&fojks/kh jk; gSaA ,d rjQ og “kjhvr

dk vuq;kbZ gksdj pyrs gSa rFkk nwljh vksj

og 'k+jk dh vkykspuk Hkh djrs gSa A og

“kjhvr dk ikyu rc rd gh djrs gSa A

tc rd og fdlh eqdke ij ugha igq¡prs

“kjhvr dh ikyuk ds izfr og bl izdkj

dgrs gaS%

'+kjhvr lkM+h ekbZ ,s]

rjhdr lkMh nkbZ ,s]

vXxksa rd gdhdr vkbZ ,s]

vrs ekjQrksa dqt ikb;k ,sA

--- --- --- --- --- --- --- ---

jkg “kjk nk idMs+xk rk vksV eqgEen

gksosxhA

tc og b”d ds eqdke ij igq¡prs gSa rks

og “k+jk ds /kkfeZd fjokt+ks a ds fn[kkoks dk

[kaMu Hkh djrs gSa%

Hkð fuekt+k fpDdM+ jkst+s

Dyes rs fQj xbZ flvkgh

cqYyk “kkg “kgq vanj fefyvk

HkqYyh fQjs yksdkbZA

/keZlky /kkM+oh jfgUns@Bkdqj }kjs BXx

elhrk foPp dqlrh jfgUns@ vk'kd

jfg.k vYyxA

“kjhvr esa c¡/ks gq, euq’; gt djus ds

fy, eDdk tkrs gSa rFkk ijekRek dh izkfIr

dh bPNk djrs gSa ij cqYys”kkg th dh ;g

bPNk iwjh gks tkrh gS ^bd jka>.k eSuw¡

yksM+hnk* og mUgas fey tkrk gS rFkk muds

fy, izHkq dk Lo:i gh eDds ds leku gSa

og bl izdkj dgrs gSa

gkth yksd eDds uw¡ tkans]

esjk jka>k ekgh eDdk]

eSa rs eax jka>s nh gksbZ vk] esjk ckcqy

djnk /kDdkA

gkth yksd eDds uw¡ tkans] vlk tk.kk

r[r gt+kjsA

ftr oYy;kj mrs oYy dkck] Hkkos Qksy

fdrkck¡ pkjsA2

?k- b”+d dk egRo

cqYys”kkg th isze ekxZ ds iqtkjh

FksA izse izTtoyu ml vkx ds leku gS

tks iszeh iszfedk dh bPNk ds fcuk ân;

dh lc oLrqvksa dks tyk nsrh gSa fu’dke

isze euq’; ds vanj ls nqfu;koh vgadkj

dks feVkdj l`f’V dh vuUr ls vukfn

lÙkk dh vHksnrk dh izkfIr esa lgk;d

curk gS ;gh dkj.k gSa fd cqYys”kkg th

Hkh deZdkaM esa ugha Q¡lrs rFkk isze dks

viuk loZJs’B /keZ ekurs gq, vgadkj ds

uk”k dh iszj.kk nsrs gSa rFkk og bl izdkj

dgrs gS%

“kjk dk ikyu lPps o ifo= b”d ds

,glkl ls gksuk pkfg,A b”d ds ,glkl

ds fcuk “k+jk dk ikyu dknjh lwfQ;ksa ds



57

fy, O;FkZ gAS b”d dh egkurk dks uk

tkuus okyh dêjiaFkh “k+jbZ bl dkj.k ls

gh cqYys”kkg th ds O;aX¸k dk fgLlk curs

gSa og bl izdkj dgrs gaS%

“k+jk dgs py ikl eqYyk ns] fl[k

yS vnc vnkcka uw¡A

b'+d dgs bd gjQ+ cFksjk] BIi

j[k gksj fdrkcka uw¡A

“k+jk dgs py eltn vanj]

gd fuekt+ vnk dj ySA

b'+d dgs py eS[kkus foPp] ih

ds b'+d ukQy i<+ ySA

“k+jk dgs py cfg'rh pyh,]

cfg'rk ns esos [kkok¡xsA

b'+d dgs ÅFks ifgjk lkMk]

vki gRFkh ojrkokaxsA

mej xbZ foPp elhrh]

vanj efjvk uky iyhrh]

dns uekt+ ofgnr uk dhrh

gq.k fd;w¡ djuk ,s dwd iqdkj

b'+d nh uohvks uoha cgkjA

cqYys”kkg th dgrs gSa fd fdrkcksa dks

i<+dj fo}oku cuus dh t:jr ugha gS

euq’; dks ijekRek dh izkfIr ^,d vyQ+*

vFkkZr~ ijekRek dks tkuus ls gh gks tkrh

gS rFkk ,d uqDrs dh le> ls vFkkZr~

ckjhd ;k jgL;iw.kZ ckr Li’V gks tkrh gS

rFkk euq’; “kjhj dks d’V nsus ls cgqr

Åij mB tkrk gS og bl izdkj dgrs gS%

bd vyQ+ i<ks NqVdkjk ,s

--- --- --- --- --- --- --- ---

bd uqDrs foPp xYy eqdnh ,s]

QM+ uqDrk NksM+ fglkck uw¡]

dj lkQ+ fnys fn;k [kkck¡ uw¡A

Tkk eSa lcd b'd nk if<+vk

elftn dksyksa ft;wM+k Mfjvk

HkTt HkTt Bkdqj}kjs ofM+vk

?kj foPp ikb;k egje ;kj

b'+d nh ufo;ksa uoha cgkjA

tk eSa jet+ b'+d nh ikbZ

eSa uk rwrh ekj xokbZ

vanj ckgj gksbZ lQ+kbZ

ftr oy os[kka ;kjksa ;kj

b'+d nh ufo;ksa uoha cgkjA3

M- lPps b'+d dh e;kZnk

lwQher esa b”d etkt+h dks b”d gdhdh

dh uhao ekuk x;k gS ;gh dkj.k gS fd

cqYys'kkg th Hkh vius izHkq izse dks

nqfu;knkjh izse ds :idksa ds }kjk izdV

djrs gSaA lwQ+h e;kZnk ijekRek ds lkFk

lPpk b”+d djus dh gSA ijekRek ds lkFk

fxyk f”kdok vFkkZr~ ujkt+xh f”kdk;r] o

mykguk] rkuk b”+d ds t:jh vax gSaA

cqYys”kkg th izHkq dh izkfIr ds fy, dsoy

,d gh jkLrk b”+d dks crkrs gSa rFkk mudh

lwQ+h vkRek mlesa vHksn gks tkuk pkgrh

gSa rFkk og bl vHksnrk ds fy, fdlh



58

/kkfeZd “kjhvr dh t:jr dks ugha ekurs

rFkk mlds lkFk b”+d djus dh t:jr dks

eglwl djrs gq, dgrs gS%

“k+jk dgs py ikl eqYyka ns]

fl[k ySa vnc vnkcka uw¡A

b'+d dgs bd vyQ+ cFksjk]

BIi j[k gksj fdrkcka uw¡A4

p-v}Srokn

v} Srokn lwQ+h;ksa dk loZJs’B fl)kar gS

ftlds vuqlkj b'oj dh lÙkk loZO;kid

gSA vkRek ijekRek dk gh ,d Hkkx gS rFkk

euq’; fu’dke isze o lcz larks’k ds xq.kksa

}kjk mls vius vanj ls gh ik ldrk gS

dqjku esa Hkh ijekRek dk loZO;kid o

fu’dke isze ds }kjk izkIr gksus ds ladsr

feyrs gSa cqYys”kkg th bl ij Li’V :i

ls fy[krs gS%

Rkqlh lHkuh Hks[kh Fkhans gks

Lkkuw¡ gj Fkk rqlha nlhans gksA

ftr oy os[kk¡ fnlnk vksgh

dle vksls nh] gksj uk dksbZA

uk ge fgUnw uk rqdZ t:jh

uke b'+d nh gSa eatwjhA

?kj foPp ikb;k egje ;kjA5

v}Srokn dh Å¡ph voLFkk ij igq¡p dj

gh cqYys”kkg th et+gc o tkr&ikr ds

Hksn dk [kqydj fojks/k djrs gSaA

N- /kkfeZd vkMEcjksa dk fojks/k

txg&txg rhFkZ LFkkuksa ij ijekRek ds

feyu ds fy, og egRo ugha nsrs A

cqYys”kkg th dk fo”okl gS fd eDdk

tkdj gTt djus ls ;k rhFkZ LFkkuksa ij

tkdj Luku djus ls ijekRek dks izkIr

ugha fd;k tk ldrk A ijekRek ds n”kZu

dsoy lPps izse ls gh gks ldrs gaS cqYys”kkg

ds vuqlkj lPps iszeh dk eDdk mldk

fiz;re gSa rFkk dkck Hkh ogha gSaA b”+d ds

jax esa jaxs cqYys”kkg r[r gt+kjs dks eDds

;k fdlh Hkh /kkfeZd LFkkuksa ls de ugha

le>rs gSa rFkk og b”+d dks lHkh /kkfeZd

vkMEcjkas ls Å¡pk le>rs gSasA iwtk&ikB]

jksts+ ;k fuekt+ esa mudk dksbZ fo”okl ugha

gS rFkk bu /kkfeZd jLeksa ls ?k`.kk djrs gq,

b”+d ds jkLrs esa “k+jk “kjhvr o fuekt

jkst+s dks csdkj le>rs gSa rFkk og /keZ ds

Bsdsnkjksa }kjk cuk, x, [kks[kys

jhfr&fjoktksa o deZdkaMks dk fojks/k Hkh

djrs gSaA

ts jc feynk ukf/k;k /kksfr;k]

rka feynk MMwvk ePNhvkA

ts jc feynk taxy csys]

rka feynk taxy csys]

ts jc feynk foPp elhrh]

rka feynk pke pfMafDd;k¡A

cqYys;k jc vksguk uw¡ feynk]

cbZ uhrk¡ ftguk¡ fn;k lPphvk¡A



59

t- eqf”kZn dk egRo

lwQh lk/kuk esa eqf”kZn dk fo”ks’k LFkku o

egRo gSA lwfQ;ksa esa eqf”kZn dks “ks[k vkSj

ihj vkfn ds uke ls tkuk tkrk gSA lwQ+h

lk/kdksa ds fy, eqf”kZn dk bruk egRo gS

fd muds fcuk og lk/kuk dh dYiuk Hkh

ugha dj ldrsA eqf”kZn ds fcuk ijekRek

ls feyuk vlEHko gS blfy, ijekRek dks

izkIr djus ds fy, vkfRed rkSj ij igq¡ps

gq, eqf”kZn dh vko”;drk ekuh tkrh gSA

lwQ+h lk/kd ;k vk/;kfRed ekxZ ij pyus

okys O;fDr dk eq[; drZO; eqf”kZn dh

“kj.k ysuk gksrk gS rFkk eqf”kZn vius eqjhn

ds ân; esa :gkuh “kfDr dks izos”k djkus

ds ;ksX; gksrk gSA lwfQ+;ksa dk eqf”kZn ds

izfr b”++d dks etk+th b”+d dk uke fn;k

tkrk gS bl b”+d etkt+h ls gh og I;kj

ds gou dqaM esa vius vki dks >ksadrs gq,

b”+d gdhdh rd igq¡prs gSaaSA

>-b”+d+ dh egkurk

Ikatkch lwQ+h dkO; esa gh ugha cfYd nqfu;k

ds lHkh lwfQ+;ksa esa ijekRek ds feyu ds

fy, b”+d dk fo”ks’k egRo gSA

izse ,d ,slk jkLrk gS tks lPpkbZ] Kku o

vPNs deZ dh rjQ tkrk gS lwQh ewy

lPpkbZ o Kku dks [kkstus ds fy, gh bl

deZ dh vksj vkxs c<+rs gSaA

lanHkZ

1- cqYys'kkg nk lwQ+h vuqHko] lqfgUnj chj i`- 60

2- ogha] i`- 64

3- dkfQ+;k cqYys'kkg] fcØe flag ?kqEeu i`- 12

4- ogha] i`- 16

5- ogha] i`- 22



60

jktLFkku ds J`axkfjd yksdxhr

iwtk

ih,p-Mh- “kks/kkFkhZ laxhr ,oa yfyr dyk ladk;] fnYyh fo”ofo|ky;

jktLFkku ,d jax&jaxhyk {ks= ekuk tkrk

gS D;kasfd ;g jkT; lnk ls gh lkaLd`frd

,oa ,sfrgkfld tuin gksus ds lkFk&lkFk

ges”kk yksdlaxhr dh n`f’V ls Hkh le`)

jgk gSA LFkkuh; yksd laLd`fr dh lqUnjrk

us ;gk¡ ds yksdekul dks vusd :iksa esa

izHkkfor fd;k gSA jktLFkku ,d ,slk

jkT; gS tgk¡ dh laLd`fr o lH;rk dh

>yd yksdxhrksa esa Li’V:Ik ls eq[kfjr

gksrh gS vkSj ftlesa vla[; fo’k; oLrq

tSls&f”k”kq tUe ls lacaf/kr xhr] fookg

xhr] cUuk&cUuh ds xhr] mRloksa ds xhr

vkfn ls lacaf/kr xhr lquus dks feyrs

gSaA ;gk¡ ij gj ix ij gj Nksj ij]

Å¡ps ioZrksa ij] igkM+h dh dks[k esa]

yksdxhrksa ds Loj ok|ksa dh xw¡t ,oa u`R;

dh fFkjdu fn[kkbZ rFkk lqukbZ iM+rh gSA

yksdlaxhr esa xk;u] oknu vkSj u`R; bu

rhuksa dykvksa dk lekos”k gksrk gSA

yksdxhrksa esa lekt ds lkaLd`frd thou

dh fo”ks’krkvksa dk fp=.k gksrk gS] tks

n”kkZrk gS fd vfHktkR; lkfgR; ds

lkFk&lkFk buds }kjk Hkh ekuoh; lekt

vkSj laLd`fr dks le>k tk ldrk gSA

Hkkjr ds if”peh Hkkx esa fLFkr jktLFkku

fo”o ds eq[; ijEijkoknh {ks=ksa esa ls

,d gS rFkk vius xkSjo”kkyh ijEijkxr

:Ik dks orZeku le; rd lqjf{kr j[ks

gq, gSA ;gk¡ dh lkaLd`frd ijEijk vR;ar

izkphu le`) ,oa oSHko”kkyh gSA lkfgR;]

laxhr] yfyrdykvksa ,oa lHkh gLr

dykvksa ds ;gk¡ mRd`’V mnkgj.k feyrs

gSaA blds fHkUu&fHkUu Hkkxksa esa

fHkUu&fHkUu Hkk’kkvksa dk iz;ksx gksrk gS

“kk;n blhfy, ;gk¡ dk laxhr Hkh cgqr

fofo/krkiw.kZ gSA lkfgR; ,oa laxhr nksuksa

gh n`f’V ls ;gk¡ dk laxhr vR;ar

egRoiw.kZ gSA

laxhr esa O;fDr tkx:d gksdj ,oa le>

ds lkFk vUr% fØ;k djrk gSA ;g

ekU;rk ?kVuk dh fo’k;ijdrk dks rks

n”kkZrh gh gS lkFk gh laxhr dh izfØ;k

esa dh xbZ fØ;k o blds vFkZ dks le>us

gsrq izsfjr Hkh djrh gSA

laxhr esa tqM+h fo’k;&lkexzh dks ge nks

Lrjksa ij fo”ysf’kr dj ldrs gS a izFke

laxhr esa fufgr nSfud thou rFkk f}rh;

nSfud thou esa laxhr dh HkwfedkA

yksdxhr lkfgfR;d dfork ls fHkUu gksrs

gSa] tgk¡ yksdxhr vf”kf{kr tu&ekul

dh mit gS ogh lkfgfR;d dfork f”kf{kr

tuekul dh vfHkO;fDr gSA blds

vykok “kCnksa ds mPpkj.k] izrhd] fo/kku]

Hkko] mfDr] oSfp=~;] y; rFkk xfr]

dYiuk] fo’k; vkfn esa varj ik;k tkrk

gSA1 yksdxhr ,d vfr xgjs egklkxj

ds leku gSA lHkh izkUrksa ds yksdxhr ogk¡

ds lkekftd laLdkjksa ij vk/kkfjr gksrs

gSA yksdxhrksa dk ;g ;ksxnku lekt esa

mudh Hkwfedk dks fl) djrk gSA tUe

ls ysdj e`R;q rd ds yksdxhr leqnk;

ds lnL;ksa dks f”kf{kr djrs gq, mUgsa

lekthd`r djus esa vge Hkwfedk fuHkkrs


61

gaSA

jktLFkku ds leqnk; ds lnL;ksa }kjk

vius ikfjokfjd ,oa lkeqnkf;d voljksa

tSls&nsoh&nsorkvksa dh Lrqfr] ukrsnkjh]

Je] thfodksiktZu] feyu] >xM+k] fojg]

jkfrtxk] gkl&ifjgkl] tUe] fookg]

e`R;q] gksyh] fnokyh tSls mRlo o

euksjatu vkfn ij cus ;g yksdxhrksa dk

xk;u Li’V djrk gS fd ;s xhr ;gk¡

jgus okys yksxksa ds thou ls xgu :Ik

ls lacaf/kr gSA fofHkUu voljksa ij xk;u

rFkk oknu] O;fDrxr vFkok lkewfgd

:Ik ls mudk vk;kstu mudks iznku fd,

tkus okys egRo ,oa muds }kjk dh tkus

okyh vko”;drkvksa dh iwfrZ ij fuHkZj

djrk gSA xhrksa ds vk;kstu ls tgk¡ mUgsa

vkfFkZd lgk;rk feyrh gS ogha nwljh

vksj ;g ijEijk ds fuokZg rFkk /kkfeZd

vko”;drkvksa dh iwfrZ esa Hkh lgk;rk

iznku djrh gSA yksd laxhr laca/kh Kku]

yksd dykdkjksa dks laHkor% vuqokaf”kdrk

esa izkIr gksrk gSA

jktLFkku esa laxhr ,oa u`R; euksjatu dk

eq[; lk/ku jgk gS] ;gk¡ ?kwej]

dkycsfy;k vkfn u`R; fd, tkrs gSA

dBiqryh ijEijk us <ksyk ek:]

ghj&jka>k] ewey] egsUnz rFkk Hkksiksa esa

ikcwth dh QM+ dks ijns ds lgkjs thfor

j[kk gSA2 ;gk¡ ij rsjkrkyh o vfXu u`R;

dk Hkh viuk vyx egRo gS tks ns[kus

esa euksjatukRed gSA

jktLFkku eas yksdxhrksa dks xkus okyh dqN

is”ksoj tkfr;k¡ gS&yaxk] ekaxf.k;kj] Mkaxh]

<ksyh] Hkksik] dkycsfy;k] tksxh] dke.k

vkfnA bu yksd dykdkjksa ds ikl

vius&vius ok| gksrs gaS ftu ij og

vius xhrksa dks latksdj xkrs&ctkrs gSaA

jktLFkku ds yksd dfo;ksa us uj&ukjh ds

cká&lkSUn;Z dk eueksgd o.kZu fd;k gSA

uk;d&ukf;dkvksa dk ,d&nwljs ij

vkdf’kZr gksus dk eq[; vk/kkj lkSUn;Z

gSA bu yksdxhrksa esa izse dkeklDr ifjf/k

ls ckgj fudy dj lPps izse dh dksfV

esa vkrk gSA buds xhrksa esa ifr&iRuh ds

laca/kksa dk mYys[k gksrk gS tks n”kkZrk gS

fd iRuh ls ifr dh fudVrk iRuh dks

lqj{kk] lq[k ,oa HkkoukRed LFkkf;Ro

iznku djrh gS] tSls gh ifr ijnsl tkrk

gS mlds fo;ksx ds xhr bu yksdxhrksa esa

foLrkjiwoZd feyrs gSaA ;gk¡ ds yksdxhrksa

esa izd`fr ds la;ksx vkSj fo;ksx nksuksa gh

:iksa dk yksd dfo;ksa us c[kwch o.kZu

fd;k gSA Ik”kq&i{kh rFkk fojys o`{kksa okyh

izd`fr dk vR;ar ljy o HkkokRed fp=

;gk¡ ds yksdxhrksa esa feyrk gSA

o’kkZ _rq eas xk;k x;k ,d xhr bl

izdkj gS&

lkof.k;ks fcywEc~;ks chdkusj3

tks Egkjh tksM+h jk Hkoj thAA lkof.k;ksAA

os rks cM+ nh[ks /kwa/kyk

tBs Egkjs ek: jks edku

fi;k I;kjh jk <ksyk lkof.k;ks fcywEc~;ks

chdkusj

uSM+h uSM+h djtks <ksyk pkdjh js

lka> iM+;ks ?kj vko fi;k I;kjh jk

<ksykAAlkof.k;ksAA

rEcwM+k rks Hkhtsa egkjktk jax pos

Hkhtsa Egkjh lgsY;kjks lkFk

fi;k I;kjh jk <ksykA lkof.k;ksA

;g xhr ekaM jkx esa xk;k tkrk gSA xhr



62

,d iRuh us vius ifr ds fo;ksx esa

xk;k gSA tks/kiqj] chdkusj esa ;g xhr

izpfyr gSA

chdkusj esa lkou ekl ds >dksajsa vk,

gSa] esjs ifrnso rqe ,sls le; dgka gksA

dqN fn[krk ugha] cM+ ds isM+ Hkh /kqa/kys

ls tku iM+ jgs gSa] mUgha ds ihNs dgha

edku gSA fi;k ukSdjh utnhd djks rkfd

lka> iM+rs gh ?kj vk tkoksA esjs rEcw

o’kkZ esa Hkhx jgs gSa vkSj esjh lgsfy;ksa

vkSj esjk ikuh esa [kMs+ gksus ls cqjk gky

gks jgk gSA lkou gS] vkt cgqr rst

o’kkZ gks jgh gS] vc vk tkvksA

jktLFkku ds yksdxhrksa esa thou vkSj

izd`fr dk dksbZ ,slk i{k ugha tks bu

xhrksa dh e/kqe; /kkjk ls tqM+k u gqvk

gksA ckjgeklksa dk o.kZu Hkh bu yksd

xhrksa esa feyrk gSA yksd dfo;ksa us bu

yksdxhrksa esa izd`fr fp=.k ds vUrxZr

/kjrh vkSj vkdk”k ds lEiw.kZ lkSUn;Z dks

O;Dr fd;k gSA blesa lwjt] pk¡n] rkjs]

fctyh] ckny] iou vkfn vkdk”kh;

oLrqvksa ds lkFk gh /kjrh ij iM+us okyh

/kwi] pk¡nuh] ou&miou] unh&ukys]

ljksoj vkfn dk lqjE; fp=.k fd;k x;k

gSA

xzh’e _rq dk ,d xhr ftlesa iRuh lwjt

dks nsj ls mn; gksus dh fourh djrs

gq, dgrh gS&

Þlwjt Fkkaus iwtrh gks] Hkj&Hkj eksY;ks

Fkky]4

NU;ksd eksM+ks rks mxT;s] Egkjk Hkaoj p<s+

njckjAÞ

bl xhr esa lw;Z dh vjk/kuk djrs gq,

L=h dgrh gS fd esjk ifr izkr%dky

njckj esa tkus okyk gSA og izkFkZuk djrh

gS fd lw;Z nsork dqN nsj ls fudysaA og

lw;Z ls dgrh gS fd eSaus vkidh iwtk

eksfr;ksa ls Fkky Hkj&Hkj dj gh vkt

mldk Qy izkIr djuk pkgrh gw¡A

jktLFkku dh turk ls izd`fr us vf/kd

eksg ugha j[kk D;ksafd e:Hkwfe gksus ds

dkj.k ;gk¡ ikuh dh deh jgrh gS ftl

otg ls ;gk¡ gfj;kyh Hkh de gksrh gSA

;gk¡ dh turk :[ks&lw[ks izkd`frd lkSUn;Z

ls izsfjr gksrs gaS rFkk bu lc dfBukbZ;ksa

dks xzg.k djrs gq, Hkh ;gk¡ ds yksx

izlUufpÙk jgrs gSaA o’kkZ dh deh gksus

ds dkj.k yksxksa dks vius thou ;kiu

ds fy, nwj tkuk iM+rk gSA izd`fr dh

bl fujLrk dks nwj djus ds fy, ;gk¡

ds yksd dfo;ksa us izd`fr dk cgqr gh

lqUnj o.kZu fd;k gS tks ;gk¡ ds yksd

dykdkjksa ds yksdxhrksa o dforkvksa esa

ns[kus rFkk lquus dks feyrk gS tks bu

lc fujLrk ds foijhr Hkh ;gk¡ dh turk

esa mYykl iSnk djrh gSA bl izdkj ;gk¡

ds xhrksa esa la;ksx J axkj mRd`’V :Ik esa

izdV gksrk gS tks vfr eueksgd gSA

lanHkZ lwph

1-tSlyesj ds J`axkfjd yksdxhr] MkW0 Hkwjkjke lqFkkj

2-Hkksik yksdxhr ,oa lkekftd lajpuk] MkW0 mes”k HkkxZo

3-jktLFkkuh yksdxhrksa ds fofo/k :Ik] MkW0 txey flag

4-jktLFkku dk yksdlaxhr] “kUuks [kqjkuk



63

jktLFkkuh yksdxhrksa vkSj muds fofo/k izdkjksa dk

vè;;u

izHkkr Mkaxh

'kks/kkFkhZ] laxhr ,oa yfyr dyk ladk;] fnYyh fo'ofo|ky;] fnYyh

yksdxhr 'kCn vaxzsth 'kCn ^Qksd lk¡x*

dk i;kZ;okph ekuk tkrk gSA Qksd lk¡x

teZuh ds okWYd 'kCn dk ewy :ikarj gS

vkSj ckWYd 'kCn dk vFkZ xzkeh.k&xhr

fy;k x;k gSA bl izdkj vf'kf{kr xzkeh.k

yksxksa esa izpfyr xhrkas dks gh yksd xhr

dgk tkrk gSA nwljs 'kCnksa esa ;g Hkh dg

ldrs gSa fd xk¡o ds yksxksa esa izpfyr

xzkeh.k yksxksa }kjk l`ftr xk¡oksa ds yksxksa

ds fy, fy[ks x, xhr dks ^yksdxhr*

dgrs gSaA

yksdxhr dh ifjHkk"kk

yksd&xhr ^yksd* rFkk ^xhr* 'kCnksa ds

la;ksx ls cuk gSA ftldk lkekU; vFkZ

gS&yksd ds xhrA blh izdkj ^xhr* 'kCn

dk vFkZ izk;% ml Ñfr ls gS tks xs;

gksA vr% yksdxhr esa xs;rk dk gksuk Hkh

vfuok;Z gSA1

yksdxhr yksdtu }kjk fo'ks"k ifjfLFkfr

esa LFky deZ rFkk laLdkj ds le; gqbZ

vuqHkwfr;ksa dh y;iw.kZ lkewfgd

vfHkO;fDr gSA ;g xhr yksd&thou dh

okLrfod Hkkoukvksa dks izLrqr djrs gSa

rFkk buesa euq"; ek= ds ikfjokfjd vkSj

lkekftd thou dk lkekftd rFkk

HkkoukRed fp=.k jgrk gSA

fo}kuksa us yksdxhr dks ikfjHkkf"kr djus

dk iz;kl fd;kA MkW0 lR;sUæ dk dFku

gS& ^^og xhr tks yksd ekul dh

vfHkO;fDr gks] vFkok ftlesa yksd&ekul

vkl Hkh gks og gh yksdxhr ds vUrxZr

vk;sxkA**

eksgu Ñ".k /kj dk dguk gS ^^yksdxhr

jl ls ifjiw.kZ cksy gS** MkW0 fparkef.k

mikè;k; ds 'kCnksa esa yksdxhr euq"; dh

izÑr Hkkouk dh vfHkO;fDr ls tUek gSA

vkneh okrkoj.k esa iyk gS vkSj dky

dh xgjkb;ksa ls mBdj izks<+rk gks izkIr

gqvk gSA

lUrjke vfuy dk dFku gS& yksdxhr

vf'kf{kr xzkeh.k turk ds Hkkoqd rFkk

laosnu'khy ân; ds os LokHkkfod mn~xkj

gSa] tks laxhr dh cyorh /kkjk ds :i

esa izokfgr gks mBrs gSaA laxhr bu esa

izk.k izfr"Bk djrk gS blfy, dgk tkrk


64

gS fd ân; ds mæsd ls ;qDr dykiw.kZ

laxhr gh yksdxhr gSA2

yksdxhrksa ds fofo/k izdkj

1- laLdkjksa ds xhr

yksdxhr] yksd thou dk izfrfcEc gksrk

gS ftlesa yksd thou ds /keZ] deZ]

fo'okl dh Nfo izfrfcfEcr gksrh gSA

euq"; thou dh izR;sd voLFkk dk izR;sd

Lrj vkSj volj xhrksa esa eq[kfjr jgrk

gSA laLdkj xhrksa dk lEcU/k ekuo ds

tUe ls ysdj e`R;q rd gSA ^^;s xhr

g"kZ] mYykl] lq[k&nq%[k] osnu&feyu

bR;kfn fofo/k eukso`fÙk;ksa ls tqM+s gq, gksrs

gSaA fgUnqvksa dk thou mn~Hko ls foy;

rd laLdkj e; gksrk gSA /kkfeZd laLdkj

fgUnw&thou esa brus vkPNkfnr gSa fd

thou dHkh uhjl izrhr gh ugha gksrkA

oLrqr% /keZ] yksd thou dk iz.k gSA3

iq= tUe ds le; tSlyesj izns'k esa xk;s

tkus okys xhrksa dks ^gkyfj;k* xhr dgrs

gSaA bl fnu x`g Lokeh fny [kksydj [kpZ

djrk gS&

^^j.k p<+.k dad.k ca/k.k] iq= c/kkbZ

pkoA

v rhuwa fnu R;kx jk] dkabZ jad dkabZ

jkoAA**

cPps ds tUe ds nlosa] pkSngosa ;k

pkyhlosa ;k vU; fdlh 'kqHk fnu dks

eqgwrZ fudyok dj ukedj.k laLdkj

fd;k tkrk gSA ml fnu yM~Mw o ?kw?kjh

ck¡Vh tkrh gSA blh ls lEcfU/kr xhr&

^^vkvks th uk;.kth cSBks EgkjS ikl]

?kw?kjh ck¡VT;ks vjys&ijys cklA**

tc f'k'kq ,d&nks o"kZ dh vk;q dk gks

tkrk gS rks mlds cky ds'kksa dks viuh

dqynsoh ds eafnj esa tkdj p<+kus dh

izFkk gSA bl izFkk dks ^>Mwyk* dgrs gSaA

rc nsork dh iz'kalk esa xhr xk;s tkrs

gSa&

^^lkSus uS :iS jkS ekrk fenfj;ks] ft.keS

fojkth ekrk udksjhA**

tSlyesj esa dku fNnokus dh izFkk gSA

Nsnus okys dks usx nsdj feBkbZ ck¡Vrs gSa

,oa fL=;k¡ xhr xkdj g"kZ eukrh gSA

tSls&

^^HkkHkks lk ikyh tk;tks] ihyks yk;tks]

ihyS jh ckyh iSa] mtyS eksrh]

b.k ihyS jh ckyh ?kM+knkS] cUuk jS dku

fonoknksAA**

tc cPpk 12&16 o"kZ dk gks tkrk gS]

rc dqy xq# ea=ksPpkj ds lkFk lwr ds

/kkxksa dh lkr yM+h Mksjh /kkj.k djokrk

gS] ftls ^tusÅ* dgrs gSaA ^tusÅ* ls

jktLFkkuh yksdxhrksa vkSj muds fofo/k izdkjksa dk vè;;u


65

lEcfU/kr xhrksa esa mldh nSfud p;kZ dk

o.kZu Hkh gksrk gS&

^^xyS tusÅ ykMk ikVdkS jh Mksjh]

fHkDlk iqj lS cgq lwjt th jh xksjhA**4

blds i'pkr~ fo|kjEHk dk eqgwrZ gksrk gSA

bl volj ij Hkh îkVh iqtok* dj

yM~Mw] feBkbZ ckaV dj xkuk&ctkuk gksrk

gSA bl izdkj ds lk/kkj.k ^cuM+s* xk;s

tkrs gSaA ftuesa Jaxkfjd Hkkoksa dh vis{kk

cM+ks dk ykM+ pko vkSj cUus dk [ksy&dwn

vf/kd O;aftr gksrk gSA

^fookg] fgUnw /keZ dk ugha fo'o lekt

dk egRoiw.kZ ,oa yksdfiz; laLdkj gSA*

fo'o dk izR;sd lekt tkfr&iztkfr]

leqnk; vkSj dchyk vius&vius <ax ls

bl laLdkj dks eukrk gSA tSlyesj izns'k

esa bl laLdkj esa oSfnd vkSj ykSfdd

nksuksa gh ijEijk,¡ vUreqDr gqbZ fn[kykbZ

iM+rh gSA nksuksa dk lkeatL; cM+h

fuiq.krk ls fd;k x;k gSA bl volj

ij loZ= [kq'kh dk okrkoj.k jgrk gSA

oj&o/kq nksuksa i{kksa ds lnL;ksa dk

eu&eqfnr jgrk gSA ûSuh uktq& vkSj

^chan jktk* ds iquhr&feyu ls feyus

okyh vikj izlUurk dks vusd xhrksa ds

ek/;e ls vfHkO;fDr nh tkrh gSA

lxkbZ fookg dh izFke lh<+h gSA lxkbZ

ds ckn fookg ls 5] 7] 9] ;k 11 fnu

iwoZ yxu fy[kdj oj i{k dks Hkstuk

tkrk gSA

fookg ls 9&10 fnu iwoZ fouk;d dh

LFkkiuk dh tkrh gS vkSj x.ks'k dh iwtk

dh tkrh gSA ml le; ^fouk;d th* ;k

^x.ks'k th* uked xhr xk;s tkrs gSA

tSls&

^^x<+ tSlk.kS lw¡ vk;kS fouk;d] djkS

uha vfpUrh fcM+nM+h

fcM+n fouk;d nksuksa th vk;k] vk;S rkS

mrfj;k gfj;S ckx ek;aA5

fouk;d LFkkiuk ds ckn fookg ds fnu

rd dbZ jLesa gksrh gSA crhlh f>ykok]

rsy fcBkuk] jkrhtxk izeq[k gSA ^rsy

p<+ko.kh* esa oj&dU;k dks mcVu ey

dj Luku djkrs gSa vkSj rsy] gYnh]

ihBh] esgUnh] mcVu vkSj rsy p<+kouh

'kh"kZd ml le; ds xhr gksrs gSa&

ihBh& ^êxjs jk ewax eaxkoks ,] Egkjh

ihBh exj p<+koks ,A

Egkjh rsy.k vk Hky vkbZ ,- rsy.k

rsy ?kM+ks Hkj ykb ,AA

rsy& ^^rsy Qqysy pEisy ?k.kk]

ykMys js eu ek;a dksM ?k.kk]



66

pEis jh dfy;k¡ lqxu ?k.kh] Qqyk.kh js

gkFk dpksy.kkA**

mcVu&^^xsgq¡ vs fp.kka jks ÅcV.kks] rks

jk; pesyh jks rsst+

jk;tknks cSB~;ks ÅcV.kksA] nknh th

fuj[kY;ksA

Fkk fuj[;ka lq[k gks;] jk;tknks cSBks

ÅcV.kksA**

bu rsy p<+kos ds xhrksa esa cUus&cUuh ls

fouksn Hkh [kqc fd;k tkrk gSA fo'ks"k dj

HkkHkh] pkph] Ckqvk vkSj ekeh vkfn

fouksnkRed xhr xk&xk dj euksjatu

djrh gSA

^êk;jk ;k Hkkr Hkjuk jktLFkku dh gh

ugha] Hkkjrh; laLd`fr dh ,d egRoiw.kZ

izFkk gSA** larku ds fookg ij ekrk vius

ihgj okyksa dks U;kSrk Hkstrh gS] ml

volj ij viuh vkfFkZd fLFkfr ds

vuqlkj mlds ihgj okys tks dqN nsrs gaS

mls ^Hkkr Hkjuk* dgrs gaSA dU;k ds

fookg esa Qsjksa ds fnu vkSj yM+ds ds

fookg ds igys fnu ukuk o ekek ek;jk

ysdj tc vkrs gSa rc cfgu dks pwuM+

vks<+krs gSa] ml le; pwuM+h xhr xk;k

tkrk gS&

^^vk;ks NS ek dks tk;ks ohj] ghjk tM+

yk;kS pquM+]

vks<w rks ghjk >M+ iM+S] esywa rks rjlS

ckbZ jks tho] ghjk tM+ yk;ksA**6

tc ckjkr jokuk gksrh gS] rc oj&o/kw

dks îkV* fcBkrs gSa mlh fnu ^cuM+k*

xhr xk;s tkrs gSA ckjkr o/kw ds ?kj

igq¡p tkrh gSA rc oj ryokj ls rksj.k

dks lkr ckj Li'kZ djrk gSA bls ^rksj.k

oknuk* dgrs gSA tc [kkrh ls rksj.k

cukus ds fy, dgk tkrk gS rc

^rksjf.k;k* xhr xk;k tkrk gS&

^^[kkrhM+S jk vs csVk rwa rks] vs prqj

lqtk.k]

vks ?kf.koy cksyh tkÅa js] rksjf.k;kS

/kM+ yktS]

gks th vs pan.k dSjS :a[k jkSA**

blds ckn nwYgs dks NksVs lkyksa ds lkFk

cSBdj ^dq¡oj&dysok* ¼Hkkstu½ djok;k

tkrk gSA rc fL=;k¡ xhr xkrh gSA

^^dqaoj dysokS ykMkS the uh tk.kSA

nkSMkS vks lkyk th the.kkS fl[kkokSA**

rksj.k ls nwYgs dks o/kw ds ?kj esa yk;k

tkrk gSA ;gha ij oj ,oa o/kw dk

^gFkysok tksM+k* tkrk gSA blds ckn

czkg~e.k ea=ksPpkj djrk gSA fQj ^Qsjs*

gksrs gSA bl le; ^Qsjs* o p¡ojh ds

xhr xk;s tkrs gSa tSls &

^êksfj;ks vs ek;] EgkjS chjk jh cSuM+

uS ekMS fy;ka tk;A



67

fd.k th jkS lksou eksfj;kS] fd.k th jh

<ydr <syA**

tc ckjkr Hkkstu djrh gS] ml le;

cgqr lkjs xhr xk;s tkrs gSaA bu xhrksa

esa ^lxkjh xkfy;ks* dk izk/kkU; gSA bu

xhrksa esa le/kh dh g¡lh mM+k;h tkrh gSA

ckjkr Hkkstu ls fuo`r gks tkrh gS rc

fL=;k¡ nwYgs dks cqykrh gSA mlds vkus

ij vusd izdkj ds xhr xkrh gSA bu

xhrksa dks ^t¡okbZ jk xhrM+yk* vkSj

dwdM+yk* dgk tkrk gSA ;s xhr tc&tc

Hkh tackbZ gS rc xk,s tkrs gaSA

tSlyesj izns”k esa dbZ tkfr;ksa esa fookg

ckY;koLFkk esa gh gks tkrk gSA ifr&iRuh

tc ;kSou dh ngyht ij ik¡o j[krs gSa

rc ifr viuh iRuh dks ysus llqjky

tkrk gS] mls ^eqdykok* dgrs gSaA

izR;sd izk.k/kkjh ds fy, e`R;q vo”;Hkkoh

gSA ej.k fpj “kkafr dk nwljk uke gSA

tSlyesj esa o`) dh e`R;q ij xhr xk;s

tkrs gSaA bls e`R;q laLdkj ds xhr dgrs

gSaA bl volj ij ^gj ds fgaMksyS* Hkh

xk, tkrs gSaA

^^gj gj djrk cM+sjka Fks mB gkfy;k]

dkbZ rqyNka jh ekyk FkkjS gkFkA

csVk th nsoS Fkkjs ijdekA dksbZ iksrk

th djS js MaMkSrA

th vks cM+Hkkxh FkkjS gj jkS fgMkSykS

lnk laxjs gkySA**7

bl izdkj e`R;q ls ckjg fnu rd fofHkUu

izdkj ds xhrksa gjtlksa] Hktuksa dk jkf=

le; esa vk;kstu fd;k tkrk gSA

2- _rqvksa ds xhr

tSlyesj ds yksdxhrksa esa o’kkZ] lkou]

calr] lnhZ] xehZ& o.kZu dk Hkh viuk

egÙo gSA jktLFkku dh e:Hkwfe esa ikol

dk vknj gksrk gSA ^cjlkykS* uke xhr

blh izdkj gS&

^^vjs vk"kk<+ jS efg.kS <ksyk] gksath

chtkst pedh jS]

?kj&?kj ekSaMh <ksyk ?kksj] gksath nwtkS jk

ckye ?kjS clS]

EgkjS ckye clS ijns”kks A**

Lkkou esa fL=;ksa dk izfl) ioZ rht vkrk

gSA ml le; ^ghaMkS* uked xhr izse ds

izrhd ds :i esa xk;k tkrk gSA clar esa

/khjs&/khjs c;kj pyrh gSA tc fiz; ?kj

ugha gks rks fiz;k dh D;k n'kk gksxhA ,sls

esa fiz;k vius vkidks dks;y cukdj

mM+k ysuk pkgrh gS&



68

^^vkirkS cknhyk ijnslka fojktkS] EgS rkS

dks;yM+h fc.k mM+ tkÅa

dks;yM+h fc.k mM+ tkÅa js ck;fj;k]

lS.kk jk ck;fj;k /kheksa enjkS cktA**

^fl;kykS* uked xhr blh izdkj dk gS

tks rhuksa _rqvksa dks vius esa lesVs gq,

gSA bl izdkj _rqvksa ls lEcfU/kr vusd

xhr gSaA

3- ioksZa ,oa R;kSgkjksa ds xhr

jktLFkku dk tSlyesj izsns'k e:Hkweh;

laLd`fr ls vNwrk ugha gSA nhikoyh]

gksyh] rht] j{kkca/ku] gfj;kyh vekoL;k

vkfn R;kSgkjksa ij xhr xk;s tkrs gSaA

gfj;kyh rht lkou ds eghus esa vkrh

gSA bl volj dks dkefu;ka fp=&fofp=

oL= /kkj.k djds >wyksa ij xhr xkrh gqbZ

eukrh gSA tSls&

^^lko.k jk lrjg x;k] vk;h uoyh

rhtA

csxh rksy ns ckf.k;k] Egkjh lklw eaxkbZ

phtAA

gksyh ds ioZ ij iq:"kksa }kjk xk;s tkus

okys xhrksa dks ^Qkx* vkSj fL=;ksa ds xhrksa

ds ywj* ds uke ls tkuk tkrk gSA oS'kk[k

ekl dh 'kqDy i{kh; v{k; r`rh;k dks

jktLFkku esa ^vk[kkrht* ds :i esa

euk;k tkrk gSA ;g d`"kdksa dk ioZ gSA

bl fnu NksVh ckfydk dks nwYgs dk os'k

/kkj.k djok;k tkrk gS vkSj ,d ckfydk

nwYgu curh gSA bl volj ij xk;s

tkus okyk xhr gS&

^^vk[kkrht jkS vk[kkS[khp] xyoka.kh lwa

ehBkS [khp

/kku /k.kSjkS nsokS ohj] fjfi;k jkS EgS

djalk lhj

chan chan.kh ekaxS vkt] de nsrka Fkkus

D;wa uh vkoS ykt

chan.kh uS xkrkc fnj;] chan jS Fks lkQkS

ca/kk;A**

4- euksjatu ds xhr

tks yksdxhr dsoy euksjatu ds /;ku esa

j[kdj xk;s tkrs gSa] mUgsa euksjatu ds

xhr dgrs gSaA chdkusj o tSlyesj esa

[;kyksa dks jEer uke ls iqdkjk tkrk

gSA Qyksnh vkSj iksdj.k esa bls rek'kk

dgk tkrk gSA ;g [;ky lkjh jkr pyrs

gSa] blesa vfHkusrk ,oa n'kZd nksuksa jl

ysrs gSaA ;s gksyh ds fnuksa esa [ksys tkrs

gSaA dfo rst }kjk jfpr [;ky& 'kSrku]

lqUnjh] ewey&egsUnzk] NSyk&rEcksyu FksA

Jaxkj jl ds [ksy yksdkuqjatu dh n`f"V

ls jpsA [;kyksa esa ekuo euksjatu ds

lkFk mPpkn'kksZa dks izkIr djrk gqvk



69

Hkkjrh; laLd`fr] lexz lEiUurk vkSj

bfrgkl ds 'kk'or :iksa dks vkRelkr~

djrk gSA bu jerksa esa xk;s tkus okys

xhrksa dk yksd thou esa cM+k egRo gSA

5- HkfDre; xhr

tSlyesj gh ugha lEiw.kZ Hkkjr dk thou

/keZe; gSA ftlds gtkj izdkj ds ozr

gSa] vusd izdkj dh ekU;rk,¡ gaSA eaxy]

larks"kh ekrk] NB] nwt] rht] iM+ok]

dkfrZd pkSFk ds ozrksa ls lEcfU/kr vusd

yksdxhr bl izns'k esa izpfyr gaSA

bu ozr xhrksa ds vfrfjDr nsoh&nsorkvksa

ds yksdxhr Hkh izpfyr gaSA nsoh&nsorkvksa

esa ukx.ks'ojh ekrk] vkbZ ekrk]

ruksVjk;] nsxjk;] rseM+sjk;] ?kf.V;ky

ekrk] uHkMwaxjjk; Hkknfj;kjk;] Lokafxrk

ekrk] 'kfDrihB] fgxaykt] [ksriky]

dj.khekrk ls lEcfU/kr xhr izpfyr gSA

tSlyesj izkar ds yksxksa }kjk dchj]

jSnkl] ehjk] lwjnkl vkfn dbZ larksa ds

Hktu xk;s tkrs gSaA tSls&

^^xguk xkaBk jk.kk ge lc R;kX;k]

R;kX;ksa dj jks pwM+kSA

dkty Vhdk ge lc R;X;k] R;kX;ksa

ca/ku twM+kSA**

bl izdkj jktLFkku ds if'peh vaty

tSlyesj esa izpfyr HkfDre; yksdxhrksa

esa vusd :i vusd xk;u i)fr;k¡

feyrh gSaA bu yksdxhrksa esa /kkfeZd

Hkkoukvksa ds lkFk&lkFk HkfDr ds fofHkUu

:i feyrs gSaA ;s :i 'kkL=h; i)fr ij

vk/kkfjr u gksdj LofufeZr ,oa /keZ

Lohd`r gSA

6- ckydksa ds xhr

tSlyesj izns'k ds xzkeh.k vapyksa esa

NksVs&NksVs cPps fnu esa Hkkstuksijkar vkSj

jkf= esa Hkh Hkkstuksijkar >q.M cukdj

vusd [ksy [ksyrs gSa vkSj xhr xkrs gSaA

ckyd&ckfydk,¡ xM+s ;k vU; [ksy [ksyrs

MkbZ&MkbZ dk xhr xkrs gaS&

^^MkbZ MkbZ Mfp;kS] dqEHkkjh jkS cfp;kSA**

blds vfrfjDr yM+ds&yM+fd;k¡ vius

NksVs&HkkbZ&cguksa dks lqykrs le; vusd

yksfj;k¡¡ xkrh gSA ;Fkk&

^^gkyj gwyj ckxk esa] nbZ tek;nkSa

ekaVk esaaA**

bl izdkj ckyd&ckfydkvksa ls lEcfU/kr

bl izns'k esa vusd xhr xk;s tkrs gSaA

7- tkfr lEcU/k xhr



70

^^fHkUu&fHkUu tkfr;ksa ds vius dqN yksdxhr

gksrs gaSA ijUrq yksdxhr fdlh dh cikSrh

ek;k ugha gksrhA os lEiw.kZ lekt dh lEifÙk

gksrs gaSA ,dkf/kdkj dk nkok u dksbZ tkfr

dj ldrh gS] u gh dksbZ mldk nkok lekt

}kjk ekU; gks ldrk gSA**

bruk lc dqN gksrs gq, Hkh dqN xhr fdlh

tkfr ds ,d oxZ ds fiz; gks ldrs gSa] nwljs

dks ughaA jktLFkku ds if'peh vapy

tSlyesj esa Hkhy] dqEgkj] tksxh] pekj

bR;kfn tkfr;ksa esa vius dqN izpfyr xhr

gSa] buesa ls Hkh tkfr dk ,d xhr bl izdkj

gS&

^^eS;k dk lekpkj vk;k Mkd xkM+h ek;]

<ksyk rw vk tk eksVj eka;]

vkÅ phy xkM+h ek;] gkFk eka; vUrj dh

lhlh]

dka/kk iS FkSyh] rksrs uks iwNw tkoM+k

dq.klk xk¡o jks NSyksA**

8- ,sfrgkfld xhr

tSlyesj ds ,sfrgkfld yksdxhrksa esa ewey]

jrujk.kk] ukxth] jk;?k.k] yokjth] izrki]

cjnkpkj.k] vLeku [kka] jkeyky eqa'kh]

Vhyks] ykywlk] eYyh;k] vkseiqjh] 'kdqjksa]

cyoar flag nsoM+k] eYyth] Mwaxth] iwueks

vkfn dks blh Js.kh esa j[kk tk ldrk gSA

vkseiqjh ohj jl iw.kZ xhr gSA ;Fkk&

^^fnuM+S mxkyS Lokeh lqxuM+k fopkj~;kA

tho.kk jS ikyÅMk rhrj cksySA

Lokehth] ckcks vkseiqjhA**

^/kwlks*] ghj&jka>k jks xhr] <ksyk ek: jks

xhr] ikcwth vkSj xksxkth ds ohj jl ds

,sfrgkfld xhr blds lqUnj uewus gSaA

9- uhfr lEcU/kh xhr

tSlyesj ds yksdxhrksa esa izeq[k xhr

f'k{kkijd vkSj mins'k ewyd gksrs gSaA

lh/ks&lkns okD;] ljy Hkko gh bu xhrksa dh

izeq[k fo'ks"krk,¡ gaSA vf}rh; :iorh tlek

vksM+ iRuh FkhA /kkjk uxjh ujs'k Hkkst ml

ij eqX/k gks x;sA tlek dh izsefXu esa tyus

okys jktk dh fuEu mfDr fdruh ekfeZd

gS&

^^lqf.k tleyA jktk dgS eSa rksykfx nh<A

thoka rka fcjpka ugha] tkf.k diM+S eth<+A

blds tokc esa tlek dk uhfr ijd dFku

gS&

^^jktk A jhr u NkafM+tS leoM+ djkS

lusgA

leoM+ lw lq[k ik;tS] uhpka dsgks usgAA**

bl izdkj ds izse dFkkRed xhrksa esa ckr

lS.kh&ch>k.kUn jh] vkHky& [khoth jh]

ÅeknS& HkfV;k.kh jh] tlek& vksM+uh jh]

<ksyk&ejo.k jh] ukxth&ukxerh jh]

ewey&efgUnzs jh] jruk&gehj jh]

ck/kSS&Hkkjeyh jh vkfn dbZ xhr blh Js.kh

dss gSaA

10- O;luksa ls lEcfU/kr xhr



71

tSlyesj ds yksxksa esa ,slh /kkj.kk gS fd

vQhe rks nq'euksa ds eu dks feykus okyk

ve`r gSA ;gk¡ dh turk vQhe] MksMk]

'kjkc] rEckdw vkfn dbZ u'khys inkFkkasZ dk

lsou djrh gSA ;gk¡ ds yksd dfo;ksa us bu

ls cpus ds fy, mudks xhrksa esa <ky dj

izLrqr fd;k gSA tSls&

^^MksMk er ih] Mksdfj;k] Fkkjk uSuk&uSuk

Vkcfj;kA

?kj jh yqxkbZ xh ik.kh uk] Vkcj jksoS jksVh

ukA

MksMk er ih Mksdfj;kA**

vr% ge dg ldrs gSas fd bl HkkSfrd txr~

esa fo|eku inkFkksZ a vkSj thou esa lapfjr

fofHkUu ekufld vkosxksa vkSj Hkko& lewgksa

ij jps gq, vla[; xhr if'peh jktLFkku

ds yksd thou esa izokfgr gksrs ik;s tkrs

gSaA bu yksdxhrksa dk vUr ugha gSA if'peh

jktLFkku ds tSlyesj izns'k dh vfeV

laLd`fr yksdxhrksa ls >ad`r yksd thou ds

ek/kq;Z] eLrh vkSj euksjatu dk lans'k ns

jgh gSA jktLFkku ds if'peh vapy dk yksd

lkfgR;] yksdxhrksa dh n`f"V ls vR;ar le`)

gSA blesa fofHkUu yksdkpkjksa esa O;oâr

yksdxhrksa ds vfrfjDr dbZ izdkj ds

yksdxhr gaS tks xq.kksa dh n`f"V ls vikj

Hk.Mkj yxrs gSaA

lanHkZ %&

1 gfj;k.kk yksd xhrksa dk lkaLÑfrd vè;;u] MkW0xq.kiky lk?koku] i`- 61

2 ogh] i`- 62

3 jktLFkku ds iwohZ vapy dks yksd lkfgR;] MkW0 xksfoan jtuh'k] i`- 4

4 jktLFkkuh yksd lkfgR; dk lS)kfUrd foospu] lksgunku pkj.k] i`- 42

5 jktLFkkuh yksd lkfgR;] ukuwjke lkLdrkZ] i`- 79

6- jktLFkku ds yksdxhr] MkW Lo.kZyrk vxzoky] i`- 62

7 jktLFkkuh yksd lkfgR; dk lS}kfUrd foospu] lksgunku pkj.k] i`- 70



72

Rare Composition : Ragam – Keeravani Talam – Roopakam Composer – Ponnayya Pillai Pallavi ǁ , , n , ǀ d , p , , g m , ǁ p , d p ǀ m , p m g m g r ǁ s , r n ǀ s , r , , , g , ǁ m , , , ǀ , , g r s r g m ǁ p d Bha , ktha pa , la ana se , , , ya , , , bi , ru , du , ba , tti , yu , , nna , ma , , , , , ya , mma , , , Anupallavi ǁ , , r , ǀ n , , s , , s n ǁ d , , , ǀ n , s , r , n , ǁ s , s r ǀ g r s n d , p , ǁ p d n , ǀ d , n , s , s , ǁ Bhu kthi , yi , , chu de , , , vi , ya , , chu A , , sa kti to , , , , nu , bha , ji , nchu , chu nna ǁ r , m g ǀ g r s g r s n ǁ r n s d ǀ n s n d p , m , ǁ p , , , ǀ mdpm g , r , , , ǁ m g r s ǀ n s r g m p d , ǁ d p Bha , ktu ta , ni , , ma di , ni , da , , la , , nchi , pa , , , li , , , , , nchu sri , , , bru , ha , da mba , , Charanam ǁ , , p d ǀ , p g , , , m , ǁ d p p m ǀ m g g , r , s , ǁ , , r , ǀ g r n , , , s , ǁ r , s , ǀ m , , , r g m , ǁ , , Sa ka , la lo , , , ka mu , na , ni , nti , yu , nna , , ta , lli , nee , , sa ri , sa , ma , , na , mu , ǁ , , p d ǀ n , d , , , p , ǁ g m p , d p ǀ m , p m g , r , s , ǁ , , g r ǀ m , , , g r g , ǁ , , r s ǀ r g m g g r r , ǁ , , O ka ku , le , , ru ni , , ve , , , bro , , , va , ve , , , , Om , ka , , , ra , ru , , , pi ni ka , , , ly a , , , ǁ s , , , ǀ , , , , , , , , ǁ Nee , , , , , , , , , Madhyama kala Sahityam ǁ p d p m ǀ g r s r , g m p ǁ p , d n ǀ d , n s , r s n ǁ d n , s ǀ r n s n d p d p ǁ m p d p ǀ g , r g m p d ǁ n s Nee , pra ka ti ta , mu ka nu ni , na ma pra stu ti je sin a na mma ra ma pa ti sa ku tai na sanka ru ra , ni Ki , ra va ni Chittaswaram ǁ , , g , r ǀ , , s , n , , ǁ d , p , ǀ , m , g , , r , ǁ s , d n ǀ , , s , r , , g ǁ , m , , ǀ p , d , , n , s ǁ , , g r ǀ s n g r , s , , ǁ ǁ s n d p ǀ m d , p , , p m ǁ g r s r ǀ , s , , n s g r ǁ g m , p , , r g , m p d ǁ n s r g ǀ m g m r g m r g ǁ n s n sǀ r g , d n s r g ǁ ǁ , p d n ǀ s r g , m p d n ǁ s r g r ǀ s n d p , m d p ǁ m g r s ǀ , n s r g m p d ǁ ns

Sangitika


73

ehjkckbZ ds inksa esa lkfgfR;d ,oa

lkaxhfrd oSf'k"V~;

& xfjek 'kekZ

'kks/kkFkhZ]laxhr ,oa yfyr dyk ladk;]fnYyh fo'ofo|ky;] fnYyh

ehjkckbZ HkfDr dh i;kZ; gSaA ,slk dgk tkrk gS fd yxHkx ik¡p gtkj

o"kks± ds varjky ds i'pkr~ mUgksaus viuh HkfDr ls Ñ".k dks ik;k vkSj

muesa foyhu gks x;haA bl izi= esa ehjk ds mn~xkjksa dks tks in :i esa

izkIr gksrs gSa] mudk ;gk¡ lkfgfR;d ,oa lkaxhfrd fo'ys"k.k laf{kIr :i

esa fd;k x;k gSA

ehjk ds tUe ds laca/k esa dksbZ

izkekf.kd rF; miyC/k ugha gksrsA

^^fofHkUu erksa ds vuqlkj ehjk dk

tUe foØe laor~ 1561 vFkok 1573

ekuk tkrk gS ijUrq fofHkUu lk{;ksa ls

izkIr lkexzh ds fo'ys"k.k ds vuqlkj

frfFk x.kuk ,oa ,sfrgkfld lanHkks± ds

vk/kkj ij ehjk dk tUe Jko.k lqnh

'kqØokj laor~ 1561 esa esaMrk

¼jktLFkku½ ds ekynso nqxZ esa esMfr;k

jkT; ds izfl) jkBkSM oa'k esa gqvkA

nks o"kZ dh vYik;q esa ekrk dh e`R;q

ds i'pkr~ dqN le; rks og viuh

ekSlh ds ikl dqMdh esa jgha rRi'pkr~

iqu% vius firk jRuflag ds ikl vk

x;ha tgk¡ budk ykyu&ikyu buds

rkÅ oS".ko HkDr ^ôhjHknso** ds ?kj

/kkfeZd okrkoj.k esa gqvkA 12 o"kZ dh

1 Jh'kj.k] ehjk¡ % O;fDrRo vkSj ÑfrRo]

i`- 16- 2 Hktu laxzg] i`- 204-

vk;q esa mudk fookg laor~ 1573 esa]

Hkkstjkt ls gqvk rFkk yxHkx laor~

1578 esa Hkkstjkt dh eR;q gks x;hA**1

rRi'pkr~ vius thou esa ?kVh fofHkUu

?kVukvksa ls fojDr gksdj ehjk us

Ñ".k dks viuk thou lefiZr fd;kA

ehjk }kjk fyf[kr ;g in bl rF;

dks izekf.kr djus ds fy, i;kZIr gSak

esjs rks fxj/kj xksiky nwljks uk

dksbZAA

tkds flj eksj eqxV esjks ifr lksbZA

rkr ekr Hkzkr ca/kq vkiuks u dksbZAA2

^^vr% Ñ".k ls vklDr gksdj

ehjk 1595 esa oànkou rFkk 1599 esa

oànkou ls }kfjdk pyh x;haA tgk¡

}kfjdk esa j.kNksM+ nkl th ds eafnj

esa mudh e`R;q 1610&1613 rFkk ,d

vU; er ds vuqlkj 1620 esa gqbZA**3

3 Jh'kj.k] ehjk¡ %

O;fDrRo vkSj ÑfrRo]

i`- 18-


74

^^jktLFkku ls iyk;u ds i'pkr~

oÙnkou ls }kfjdk dh vk/;kfRed

;k=k ds vafre {k.kksa rd ehjk dh

vfr fudV l[kh yfyrk muds lkFk

jghaA Ñ".k dh HkfDr] vuqjkx ,oa

vklfDr vkfn vusd Hkkoksa ls

ifjiwfjr muds in yfyrk ds

ladyu dk ifj.kke gSA ijUrq ewy

inksa dh Hkk"kk if'peh jktLFkku ls

lEcfU/kr gS tks fd Lor% gh 'kks/k dk

,d fo'kn fo"k; gSA ewy jktLFkkuh

Hkk"kk ls vksrizksr ehjk dk ,d in

bl izdkj ns[kk tk ldrk gS**4&

^êSaus jke jr.k /k.k ik;ksAAVsdAA

clrq veksYd nh esjs lrxq#] dfj

fdjik mi.kk;ksA

t.ke&t.ke dh iwath ikbZ] tx eka

lc [kksok;ksA

[kjpS .kkfg dksbZ pksj .k ysoS]

fn.k&fn.k c<+r lok;ksA

lr dh uko [ksofV;k lrxq#]

Hkolkxj rfj vk;ksA

ehjka ds izHkq fxj/kj ukxj]

gjf"k&gjf"k tl xk;ksAA**5

in fo'ks"k & ehjk dh izLrqr jpuk

xq# ls lacfU/kr gSA

4 ehjkadkar] ehjka % eqfDr dh lkf/kdk]

i`- 13- 5 ehjkadkar] ehjk % eqfDr dh lkf/kdk]

i`- 89-

,slk dgk tkrk gS fd ehjk ds xq#

jSnkl FksA ehjkckbZ ds dqN inksa ls

;g izrhr Hkh gksrk gS tSls &

^êhjk us xksfoUn feY;k th xq#

fefy;k jSnklA**6

fuf'pr :i ls ehjk ds in ns'k ds

fofHkUu izkarksa esa tu&tu rd

lokZf/kd yksdfiz; gq, vkSj ns'k ds

fofHkUu izkarksa dk rFkk fof'k"V LFkkuksa

dk mu inksa ij izHkko iM+uk

LokHkkfod FkkA vr% ehjk ds in

cztHkk"kk] jktLFkkuh] [kM+h cksyh]

O;ogkfjd fgUnh] xqtjkrh] iatkch

vkSj iwohZ vkfn vusd Hkk"kkvksa ds

feJ.k ls vksrizksr ik, tkrs gSaA

ehjk ds inksa esa Ñ".k ds izR;sd :i

,oa mudh yhykvksa dk o.kZu ns[kk

tk ldrk gS]tSls fd izkFkZuk]

n'kZukuUn] Ñ".k dh ckyyhyk] lkSan;Z

o.kZu] vuqu; fou;] ';ke lax u`R;]

eaxy xku] oÙnkou 'kksHkk] fojg]

oSjkX;] Jaxkj] ';ke Jaxkj] jk/kk

Ñ".k] lst] Ñ".k&lqnkek]

Ñ".k&vtqZu] nzkSinh] d#.kk] vfgY;k

rkj.k] fgj.;kd';i] xaxk&tequk]

xq#] jk.kk O;ogkj ls O;fFkr]

lkekftd mins'k] lalkj fparu]

6 T;ksfr izlkn feJ ^fueZy*]

L=h&dfo&dkSeqnh] i`- 21-

ehjkckbZ ds inksa esa lkfgfR;d ,oa lkaxhfrd oSf'k"V~;



75

vkfnA izLrqr fo"k;ksa ds vfrfjDr

ehjkckbZ }kjk jfpr dqN vU; fo'ks"k

in Hkh ns[ks tk ldrs gSa&

1-laxhr ,oa gksjh lEca/kh

(i) jkx gksyh f>a>ksVh&rky

ppZjh ¼laHkor% pk¡pj½7

gksyh [ksyr gSa fxj/kkjhA

eqjyh pax ctr MQ U;kjks l¡x

tqcrh cztukjhAA

panu dslj fNM+dr eksgu vius gkFk

fcgkjhA

Hkfj Hkfj ewB xqyky yky pgq¡ nsr

lcuiS MkjhAA

NSy Nchys uoy dkUg lax L;kek

izk.k fi;kjhA

xkor pkj /kekj jkx rg¡ nS nS dy

djrkjhAA

Qkx tq [ksyr jfld lk¡ojks ck<+;ks

jl czt HkkjhA

ehjkdw¡ izHkq fxj/kj fefy;k eksguyky

fcgkjhA

in fo'ks"k & izLrqr in esa gksjh fp=.k

ds lkFk&lkFk laxhr ok|ksa dh Hkh

ppkZ gSA

(ii) jkx&flanwjk] rky&/kekj8

Qkxq.k ds fn.k pkj js] gksjh [ksy e.kk

jsAAVsdAA

7 Hktu laxzg] i`- 204- 8 ehjkadkar] ehjk % eqfDr dh lkf/kdk]

i`- 78-

fc.k djrky i[kkot ckts] v.kgn

dh >.kdkj jsA

fc.k lqj jkx Nrhlksa xkoS] jkse&jkse

jax lkj jsA

lhy larks"k dh dslj /kksyh] izse izhr

fipdkj jsA

&&&&&&&

ehjka js izHkq fxj/kj ukxj] pj.k daoy

cfygkj jsAA

(iii) lkafoj;ks jax jkpka jk.kk]

lkaofj;ks jax jkpkaAAVsdAA9

rky i[kkotka fejnax cktka lk/kka

vkxs .kkpkaA

&&&&&&&

ehjka js izHkq fxj/kj ukxj]

t.ke&t.ke jks lkapkaAA

(iv) jkx&vyS;k] rky&dgjok10

rkslksa yX;ks usg js I;kjs ukxj

uan&dqekjA

eqjyh rsjh eu gj~;kS]

fclj~;kS ?kj C;kSgkjAArkslksa-AA

tcrSa Joukfu /kqfu ijh---

& & & & & & & & & &

ehjk izHkq fxj/kj feys]

tSls ik.kh fefy x;kS jaxAA

2-eYgkj ls lacaf/kr &

jkx&xkSMeYgkj] rky&ppZjh11

9 ehjkadkar] ehjk % eqfDr dh lkf/kdk]

i`- 36- 10 Hktu laxzg] i`- 204- 11 Hktu laxzg] i`- 191-



76

ckny ns[k Mjh gks] ';ke! eSa ckny

ns[k MjhAA

dkyh&ihyh ?kVk meM+h cjL;ks ,d

?kjhA

ftr tkÅ¡ frr ik.kh ik.kh gqbZ gqbZ

Hkkse gjhAA

tkdk fi; ijnsl clr gS Hkhtw¡

cgkj [kjhA

ehjk ds izHkq gfj vfcuklh dktks

izhr [kjhAA

in fo'ks"k & izLrqr in esa ehjk ds

ân; dk fojg Hkko Li"V gks jgk gS

rFkk o"kkZ _rq esa cknyksa vkSj dkyh

?kVkvksa ls og Hk;kØkar gSA

3-Jh jke laca/kh & jkx&jkxsJh]

rky&f=rky12

jke&uke jl ihtS] euqvk¡ jke uke

jl ihtSA

rt dqlax lRlax cSB fur gfj ppkZ

lqfu yhtSAA

dke Øks/k en yksHk eksgdw¡ cgk fpÙk

ls nhtSA

ehjk ds izHkq fxj/kj ukxj rkfgds

jax esa HkhtsAA

in fo'ks"k & izLrqr jpuk jke vkSj

Ñ".k nksuksa dks lefiZr dh x;h gS

ftlesa gfj lRlax dh vksj /;ku

yxkus rFkk dqlaxr ls foeq[krk dh

ppkZ dh x;h gSA

12 laxhr] ehjk vad tuojh&Qjojh

1978] i`- 99-

jkx vaxhdkj dh n`f"V ls ehjkckbZ ds

in fuEu jkxksa esa izkIr gksrs gSaA fla/k

HkSjoh] gehj] uV fcykoy] dkUgjk]

glukjk.k ¼galukjk;.kh½]

fryddkeksn] [kEekp ¼[kekt½]

xq.kdyh] tkSuiqjh] [kaHkkorh] o`ankouh

lkjax] lwgk] flanwjk] iVeatjh] iwfj;k

/kukJh] jkxsJh] Nk;kuV] fcgkx]

/kukJh] Jhjatuh] /kkuh] eYgkj]

feJdkQh] ';kedY;k.k] njckjh]

fcgkx] lkjax] /kqu ihyw] HkSjoh] igkM+h]

izHkkrh] lgkuk] vklkojh] jkedyh]

tStsoarh] tksfx;k] ekaM] dkeksn] nsl]

/kkuh] ckxsJh] dkSalh dkUgM+k] lksguh]

iwfj;kdY;k.k] xkSMeYgkj]

Hkheiyklh] lksjB] nqxkZ] lkouh

dY;k.k] fcgkxM+k] vkuan HkSjksa] dkSalh]

lkosjh] dkQh] nsofxjh] ekjok]

Nk;krksM+h] izHkkorh] ekydkSal] yfyr]

eqYrkuh] xqtZjh] fryax] ihyw cjok]

e/kekn lkjax] f>a>ksVh&gksyh]

vYgS;k] ijt] iwfj;k/kukJh]

'kq)lkjax] fcykoy] /kukJh] /kkuh

vkfnA

mi;qZDr jkx fufgr inksa ds vfrfjDr

dqN ,sls in Hkh izkIr gksrs gSa ftudh

'kCnkoyh jkx dh izÑfr ls leHkko

j[krs gSa] tSls &

(i)jkx flanwjk ¼/kekj½ gksjh& Qkxqu

ds fnu pkj gksjh [ksy eukjsA

(ii)izHkkrh &



77

¼d½ tkxks calhokjs yyuk] tkxks

eksjs I;kjs

¼[k½ tkxks Egkjk txrifrjk;d

(iii) lkouh dY;k.k & iib;k js

fiodh okf.k u cksy

(iv) tksfx;k & ckyk eSa cSjkx.k

gw¡xh13

(v) lwjnklh eYgkj & cjls

cnfj;k lkou dh] lkou dh

euHkkou dhA

mi;qZDr fo'ys"k.k ls dqN fof'k"V

fcUnq bl izdkj ns[ks tk ldrs gSa

&

1- Hkk"kk dh n`f"V ls ehjk ds inksa esa

jktLFkku dh ewy Hkk"kk dk iz;ksx

gksuk LokHkkfod gS ijUrq ehjk ds

inksa dh yksdfiz;rk ,oa jktLFkkuh

Hkk"kk dh fDy"Vrk ds dkj.k

jktLFkku dh ewy Hkk"kk esa vU;

Hkk"kk,¡ Hkh lfEefyr gksrh x;hA

bl izdkj ehjk ds in

xk;d&xkf;dkvksa ,oa Jksrkvksa ds

fy, ljy ,oa ogk¡ dh yksdHkk"kk

esa miyC/k gks x,A

2- ehjk us vius fofHkUu inksa eas Ñ".k

ds izfr nkL; Hkko n'kkZrs gq, mUgsa

yky] Lokeh rFkk ijes'oj ekukA

Ñ".k ds fofHkUu :iksa vkSj yhykvksa

dk o.kZu ehjka dh jpukvksa eas

ns[kus dks feyrk gSA

13 larksa dh ckuh] egkjkt pju flag]

i`- 314-

3- mi;qZDr fo'ys"k.k esa ehjk dh

jpukvksa esa m l le; esa

izpfyr vusd jkxksa dk iz;ksx

ns[kus dks feyrk gSA LokHkkfod

gS fd brus o"kks± esa bu jkxksa ,oa

jpukvksa esa Loj dh nf"V ls

ifjorZu gq, gksaxs rFkk vk/kqfud

le; esa lokZf/kd izpfyr jkxksa]

dukZVd laxhr ls x`fgr jkxksa]

uohu jkxksa ;k fdlh ,d /kqu ds

vk/kkj ij gh ;s jpuk,¡ lquus

dks feyrh gSaA

4- rky dh nf"V ls ehjk ds inksa

esa] :id] f=rky] foyafcr

f=rky] e/; f=rky] nhipanh]

ppZjh laHkor% pk¡pj] /kekj

>irky] dgjok] nknjk vkfn

dk O;ogkj ns[kus dks feyrk gSA

ijUrq vk/kqfud lanHkZ esa ehjk dh

jpukvksa eas rky y; ds uohu

iz;ksx n'kZuh; gSaA tSls rky

dgjok] nknjk ,oa :id esa

uohu la;kstu ns[ks tk ldrs

gSaA ,drky]pkSrky rFkk vU;

uohu rkyksa esa ;s iz;ksx ns[ks lqus

tk ldrs gSaA

vr% ehjk dh jpukvksa ds v/;;u ls

Lor% gh Li"V gS fd ehjk ds inksa esa

Hkkoksa dh izxk<+rk bruh xgjh gS fd

lksygoha&l=goha 'krkCnh ls ysdj

vkt rd ;s jpuk,¡ thoar gSaA 'kCn]



78

jkx ,oa rky dh n`f"V ls gksus okys

uohu iz;ksxksa ds dkj.k ;s vkSj Hkh

thoUr gks mBh gSa rFkk thoUrrk dh

;s ;k=k vuojr~ :i ls Hkfo"; esa Hkh

izdk'keku jgsxhA

lanHkZ xzaFk] iqLrd ,oa i=&if=dk,¡

1- ehjka & eqfDr dh lkf/kdk] ehjk dkar] izdk'ku foHkkx] lwpuk

vkSj izlkj.k ea=ky;] Hkkjr ljdkj] 2002-

2- ehjk % O;fDrRo vkSj ÑfrRo] Jh 'kj.k] vk/kqfud izdk'ku]

ekStiqj] fnYyh] 2002-

3- HkfDr dkO; dh ijEijk esa ehjka] MkW- jek HkkxZo] jktLFkkuh

xzUFkkxkj] tks/kiqj] 1996-

4- Hktu laxzg] xhrkizsl] xksj[kiqj] 2012-

5- HkfDr & laxhr vad] laxhr dk;kZy;] gkFkjl] tuojh 1970-

6- L=h&dfo&dkSeqnh] T;ksfr izlkn feJ ^fueZy*] izLrqfr ¼cyoUr

dkSj½] vuU; izdk'ku] fnYyh] 2014-

7- larksa dh ckuh] egkjkt pj.k flag] jk/kkLokeh lRlax O;kl]

iatkc] pkSchloka laLdj.k&2010-



79

Notes


80

Notes

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